Adaptive Reuse of Historic Buildings in Retail Design

Interior Design Undergraduate Thesis, 2021 Faculty of Design, CEPT University

Adaptive Reuse of Historic Buildings in Retail Design As an opportunity for Brands to reflect their Identity

By: Pooja Panchal Guided by: Nidhi Aggarwal

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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: Pooja Panchal UI3916

Signature of student:

Date: May 11th, 2021

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FACULTY OF DESIGN Student Name :

Pooja Panchal

Thesis Title

Adaptive Reuse of Historic Buildings in Retail Design: As an opportunity for Brands to reflect their Identity

:

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.

Nidhi Aggarwal

Name and Signature of the Guide

WWW.CEPT.AC.IN

T +91 79 26302470 F +91 79 26302075

Dean, Faculty of Design

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

I

dedicate

parents,

this

document

Without

their

to

my

immense

support and love, I would not be here.

Acknowledgement My heartfelt gratitude to, Nidhi Aggarwal, my guide without whose guidance, research insight and dedicated involvement; this research would not have been accomplished.

Kireet Sir, Amal Sir, Jay Sir, Rajesh Sir, Naandi Ma’am, KD Sir and Chandra Ma’am for teaching me persistence.

Vaibhavi Ma’am, for the right foundation and teaching me the value of perseverance.

Mr. Jacob Keirig, for believing in me, giving the opportunity and opening a new horizon for me.

My parents, Sucheta and Jayesh for the unconditional love, sacrifice and fulfilling all my wishes.

My brother, Hiten for just being there and motivating me.

My family, for the utmost care and being my strongest pillar.

Motapapa, keep blessing and watching over me always.

Avishi, Harsheen and Riya, the constants for these five years.

Sanjana, Tanha and Pratik for the immense support and understanding.

Jaydev and Vyas, for the valuable feedback and help.

Akshat Bhatt, Abhishek Rustagi and Rooshad Shroff for sharing their valuable information for this research.

Batch 2016, for this wonderful journey together.

Everyone who helped me in some or the other way.

CEPT, for this life altering experience, fulfilling some wishes and tons of unforeseen dreams.

Thankyou god for listening to my prayers.

Abstract The primary purpose of retail space is to store, display and sell products to customers. Although the spaces must facilitate a friendly and hassle-free customer shopping experience, one of the objectives of designing retail environments is to build spaces, services, products which are aligned with the brand’s vision, mission, strategy and brand positioning while providing consumers with a unique experience.

The research aims to study the reflection of brand identity through the adaptive reuse of heritage buildings in existing historic buildings.

Therefore, the identity of the brand, its pattern of arrangements, diagrams, role of lighting, displays with other variables remains significant. The luxurious character and the monumental dimension of the historic building create a unique environment. The classical architecture of the building serves as a historic backdrop against which a retail identity of the brand is expressed. This creates a new identity while preserving the original structure. Contemporary initiatives respect and reinforce the building’s authenticity and add value to the position. Therefore, retail architecture becomes an integral aspect of the monument. This research paper aims to the study the adaptive reuse of heritage buildings in retail design and how do the brands reflect identity in the built environment. The implication of research is analyzed through case studies of selected brands and identify the varying factors of branded environments in heritage buildings.

It is observed that the brands getting into sustainable design hereby believe in community involvement, environmental stewardship and adapting the heritage site for reuse.

Keywords: retail design, experience, adaptive reuse, environment, brand positioning, contemporary, architecture

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Introduction In present competitive world, retail brands have created their identity from all aspects of the design ranging from store frontage, fascia and signage, through to the internal elements of equipment’s, merchandising, displays, lighting, in-store communications, point of sale and finishes. The retail design involves understanding of aesthetical approach within the space and how it will perform functionally and commercially.

However, the established brands tend to maintain their identity in historical spaces by considering the sustainable aspects, cultural values, heritage conservation and community involvement.

While retailing is timeless, Retail Design is one of the most challenging modern style disciplines. It embraces the architectural design, industrial design and communication design disciplines. Moreover, social science domain is also an important aspect which includes environmental psychology, sociology, cultural anthropology and merchandising. It is the touchpoint for the focus of attention and development of brand-customer communication.

In contemporary architectural design, collaborating with existing buildings for sustained use has become incredibly valuable. The requirements include the need for sustainable development practices. Moreover, there is a need for fewer new physical spaces in the current economic environment and an even more increasing understanding of the importance of preserving historic spaces. This all highlights the importance of adaptive reuse. It stands for modifying a building’s function and program by adapting the modern requirements and needs. The purpose is to alter the heritage-value of historical spaces which has architectural significance as ‘ordinary’ spaces.

This research focuses on studying the brands which adapt the concept of adaptive reuse. The brand’s vision, belief towards sustainability, conserving heritage and embodyingreflection of it’s ethos are the main focus.

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Aim The research aims to study a brand’s retail store design in historic buildings relates to its brand identity, core values, influence and adaptive reuse approaches.

Objectives 1. To investigate the functioning of a brand through the elements of retail design such as storefront, design layout, display systems and role of environments.

2. To analyze the brand design strategies, approaches of brand continuation and varying factor in branding design elements from generic store spaces to adaptively reused spaces.

Research Questions 1. What are the differentiating factors of the brand between the generic stores and historic building stores?

2. How does a brand determine the adaptive reuse approach towards the historic building?

Scope and Limitations The scope is restricted to the case studies in India. The study focuses on adaptive reuse approaches adapted by brands and does not concentrate on architectural style the building. The study is to understand how brands maintain and redevelop identities imparting the retail experience in historic buildings while respecting the heritage value.

Even though retail design is multidisciplinary and associates with different fields such as economics, urban planning, marketing management and social science discipline, this thesis aims on adaptive reuse and retail design.

Therefore, as a result, the conclusions are derived from the comparative analysis of the case studies.

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Methodology The thesis focuses on understanding retail design in the context of the relationship between heritage restoration and retail design.

In order to develop an optimal approach for reusing heritage buildings, it strikes a balance between restoration and brand identity. The study concentrates on two critical elements of research: • Adaptive Reuse • Reflection of brand identity in the historical building The focus is on the research on adaptive reuse as well as practical examples of retail design in this approach.

The latter part of the study forms a comparison between brand stores (Mall store and high street store) and stores in a historical building and understand the varying factors of brand identity and retail design. The research is carried out through the theory, diagrams and analyzing through visuals.

Relevance to the field It is essential to understand the relationship of interior design with retail branding and adaptive reuse. The challenges in adaptive reuse approaches are mainly focused on the architectural type and interior spaces.

This research concentrates on the building elements of spatial design in retail while retaining the brand identity in historical spaces.

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Content

01

Retail Design and Branding

1.1

1.1.1 1.1.2 1.1.3 1.1.4

What is Retail Design?

Elements of Retail Design Role of Store Environment Contextual Importance

1.2

1.2.1 1.2.2 1.2.3

Brand Identity Brand Image Brand Strategy

02

Adaptive Reuse of Historic Spaces

2.1

2.1.1 2.1.2 2.1.3 2.1.4 2.1.5

2.2

2.2.1 Good Earth- Jodhpur Store 2.2.2 Mehrangarh Museum Shop 2.2.3 Tianu-The Revival Project

03 3.1.1 3.2.1 3.3.1 3.4.1

04

15

35

What is Adaptive Reuse?

Typology of Buildings Approaches and Process Strategies Advantages

Case Study

85

Forest Essentials Juhu Store Lulu Mall Jodhpur Store

Conclusion

143

You

walk

into

a

retail

store,

whatever it is, and if there’s a sense of entertainment and excitement and electricity, you wanna be there.

— Howard Schultz,

ceo, Starbucks

01

Retail Design and Branding

1.1

1.1.1 1.1.2 1.1.3 1.1.4

1.2

1.2.1 Brand Identity 1.2.2 Brand Image 1.2.3 Brand Strategy

What is Retail Design?

Elements of Retail Design Role of Store Environment Contextual Importance

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1.1.1 What is Retail Design?

Retail design is the touchpoint for developing and extending communications between brand and customer. The term “retail design” incorporates all aspects of the design of the physical store including a technological sense and a virtual store from store frontage, fascia and signage to internal elements of equipment, merchandising, display, lighting, instore communications, point of sale and finishes.

It also entails an understanding of aesthetic design aspects along with its operation technologically and commercially along with processing the installation on time and within budget while adhering to the numerous uses of public space regulations. Retail Design is one of the most challenging emerging areas of design encompassing all design disciplines such as architecture, industrial design, and communication design. Moreover, it also comprises of social science disciplines such as environmental psychology, sociology, cultural anthropology and marketing.

Architecture

Interior Design

Communiation Design

Industrial Design

Translation to 3D

Retail Design

Via other disciplines

Social Science

Brands

Exterior Design Interior Design In store communication

Connects People, brands & space

Visual merchandise

Fig. 1.1 Retail Design diagram

16

Consumer

1.1.2 Elements of Retail Design Retail design is intimately connected to visual aesthetics, as this is the first point of contact between the brand and the customer. Scale, proportion, patterns, textures, and color are all elements of it.

Visual merchandising is essential in establishing a store’s visual aesthetics. The store is subdivided in categories which visually influence the minds of consumers and aid in the generation of brand identity in the space.

Elements of retail design

Store exterior

Store interior

Role of environments

Contextual importance

Fig. 1.2 Retail Elements diagram

A. Store Exterior 1. Location The major factor of a retail store is its location which define the brand’s prominence. For any space, the surrounding context and scale impact the type of impression developed on the customers. Locations will span from a local store to a mall, from pop-up shops to standalone stores in prime areas.

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2. Entrance The entry type is one of the core aspects of a brand’s first perceptions. Besides, it is the first point of contact of customer interaction with the brand. It determines the type of product the brand offers.

3. Store Front The storefront creates first impressions of building consumer relationships. For major retailers, the storefront is often the critical first point of impression.

Every day, hundreds of people walk down the streets and into shopping malls, passing by numerous shops.

Moreover, every storefront is competing for the attention of prospective consumers. The purpose of storefront design is to attract customer indoors in the ideal case. Moreover, it leaves an impression that prompts a return visit.

Fig. 1.3 Store Front

4. Window Display It is the first point of interaction with the customers.

It builds a connection with customers to step into the store and thereby the sale procedure begins. The stores have various kinds of window displays depending on convenience and the type of interaction. For instance, corner view, opening back and closing window. The combination of above factors builds the storefront which attract customers to the plight.

Fig. 1.4 Topshop’s Open-Back Window Display

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• Open-back Window: It does not consist of a back panel; hence it allows the customer to have an arranged visual and transparency to investigate the store. These windows benefit from the store’s movement and the ambiance of the shop flowing into the window area to enhance the appearance of the store. These windows are present in fashion retails. This technique is effective at well-designed store environments because it gives an insight into the interior and this also ensures that the design of the store must be appealing.

• Closed Window: The closed window display prevents customers from viewing the entirety of the store, thereby highlighting the merchandise placed in the shop window. However, these windows create a dramatic effect by angling and controlling the lighting to emphasize the focus of the display. The concept of efficient approaches for illustration and catching interest turns into the trend in various retail segments.

Fig. 1.5 Versace’s Closed Window Display

• Arcade Window: This type of windows are always predetermined spaces with a domain on any side of an entrance that transforms into a curved display when customers reach the middle of the window. This area is increasingly innovative for visual communications groups as collections regularly reflect executives of the store and have little room to operate. These windows are used for brands with high visual identities to gain attraction.

Fig. 1.6 Crockett & Jones’s Arcade Window Display

• Corner Window: Corner windows provides the most opportunity for brands to express a message as shoppers pass by the store. These displays allow more and more imaginative exhibits to reflect beyond a light in the glass. These displays further demonstrate the prominence and use benefit of the venue.

Fig. 1.7 Boss’s Corner Window Display

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B. Store Interior The importance of the interior in the development of an experience should be well established. It includes the essence of everything in the shop including products which come into contact with customers along with products that represent the employees and the proprietor. Mannequins, furniture, props, flooring, wall coverings, lighting, color and environmental graphics build up the store’s interior.

1. Store Layout

Fig. 1.8 Store Interior

The design of a store is one of the most significant aspects of its accomplishment which is a result of a lot of time, effort and labor. The store’s circulation, merchandise placement, ambience and layout affect the customer’s experience.

The circulation of a store’s layout determines the customer flow which plays essential role in aesthetic experience. Furthermore, the circulation navigates by using the floor space designated for products which depends on the customer conduct strategy and principle of layout. With respect to these elements, spatial design is pursued in various ways.

The longer a customer spends time in a store, the more probable they are to make a purchase. Hence, the intention is to engage the customers for a longer time.

The layout and interior of the store are determined by the brands identity. The design layout is determined by the brand’s program. Some brands prefer an open floor plan with all areas accessible from the entry, whereas others tend to have partitions in spaces.

• Forced Path Store Layout : This concept leads the customer down to a predetermined path in the stores. A forced-path layout has the benefit of optimizing every aisle of the store.

This strategic design can entice consumers to place an impulsive purchase by introducing them to all the merchandise offered. (e.g: IKEA)

Fig. 1.9 Forced Path Layout diagram

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Fig. 1.10 Grid Layout diagram

Fig. 1.11 Loop Layout diagram

• Grid Store Layout : The grid store layout design is a widely used in a repeatable pattern in retail. The benefits highlight the ability to travel quickly around a compact floor space by using regular fixtures and displays. With its prominence, the presentation is consistent, convenient and engaging in a seamless user experience. The retailer’s inventory management is made convenient by design which is a key component of a retail strategy to optimize the profits by using store layout design (e.g: Supermarkets, pharmacies).

• Loop Store Layout : In a loop store layout, a pathway leads customers from the store’s entrance to the checkout area. The aim of the design is to reward a customer with engaging visual presentations and focal points. For a larger retail store (over 5,000 square feet), this layout is more functional. Additionally, it facilitates a simple and accessible customer flow loop (e.g: Supermarkets, pharmacies).

• Straight Store Layout : The straight store layout is efficient and easy to organize which allows customers to get individual area.

Furthermore, a simple straight style attracts customers to the store’s featured product at the back.

Fig. 1.12 Straight Layout diagram

Fig. 1.13 Diagonal Layout diagram

• Diagnol Store Layout : While consumers switch through spaces, the diagonal store layout uses aisles to set at an angle to improve customer sightlines and expose additional merchandise.

This space management option is beneficial to small stores and it is incredibly useful to self-service retailers as it encourages increased movement and better customer circulation (e.g: Self service stores).

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• Angular Store Layout : To regulate customers’ experience, the angular store layout focuses on curved walls and corners; rounded product displays and other curved fixtures.

Fig. 1.14 Angular Layout diagram

• Geometric Store Layout : A geometric arrangement provides both artistic expression and functionality when integrated with the requisite displays and fixtures. Merchandise displays and fixtures in a variety of geometric shapes and sizes work together to create a statement, often as an extension of the retailer’s overall brand identity.

Fig. 1.15 Geometric Layout diagram

• Mixed Store Layout : The mixed store layout integrates design elements from different layouts to provide retailers with a versatile alternative. Department stores generate a dynamic flow across several departments showcasing a variety of products by combining straight, diagonal and angular concepts amongst other design elements.

Fig. 1.16 Mixed Layout diagram

• Free Store Layout : The goal of a free flow layout is to not guide the customer through repetitive design patterns, displays or signage.

Moreover, they provide freedom to communicate with merchandise and explore this retail store since there are no strict design guidelines.

Fig. 1.17 Free Layout diagram

Fig. 1.18 Boutique Layout diagram

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• Boutique Store Layout : The boutique-style is the most common free flow layout.

Customers are encouraged to connect more intimately with products in semi-separate areas created by partitions, product displays, fixtures and merchandise which are divided by category. This design provokes customers’ interest in various products or merchandise themes within the overall category.

C. Store Display The concept of displays in retail stores goes beyond the dictionary description. They are not focused on a single type of experience. They play a significant role in the development of customer interactions and purchasing decisions. Furthermore, each display has a unique role to play in the experience’s formation.

Fig. 1.19 Store Display

D. Visual Merchandizing Visual Merchandising is the art of displaying merchandise appealingly to consumers. It imposes an aesthetically attractive background on the product and portrays it to shift the buyers to customers. Instore visual promotion is used to notify customers of the first aspect of the complex buying procedure because it is positioned in the store. The retailer should acknowledge their expectations during this system to achieve the customer contribution.

Variables that contribute to the in-store design typically include store format, store planning, product, and signage positioning. These components will resolve the issue of the customer and provides a better purchasing condition. The following are the types of VM displays: 1. Point of purchase (POP): This type of product display is used to attract customers’ attention. It is generally a stand-alone showcase system held in a prominent location within the store.

Fig. 1.20 Nestle Kit-Kat’s POP display

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2. Free Standing Display: These are free-standing display structures that are well-organized. They generally have slightly higherpriced items, more compact and smaller in proportion.

Fig. 1.21 Display Cases

3. Display Cases: These cases are fully encased in glass or acrylic.

Therefore, when making a purchase, consumers often engage with the sales team. These situations are generally reserved for expensive and valuable products for security reasons.

4. Gondola Display: These type of displays have two-faced displays in the core of the store. They are self-contained, transportable, and adaptable due to the flexible shelves. These systems are usually found in grocery stores to display items.

Fig. 1.22 Gondola Display

5. Table Display: These are widely used for displaying clothes. They have more viewing areas and a low height, allowing the items to be seen from overhead. It is used to highlight the brand’s latest range or style. These have a culmination or collection of different products.

6. Mannequinns: Mannequins are the physical embodiment of visual merchandising. They display objects in an environment that allows the user to see the object in action.

Fig. 1.23 Table Display

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7. Apparel Display Racks: They are very known styles of wardrobe displays. It is commonly found that all the clothes racks vary — found in different shapes, sizes, different levels to hang things on, and others have racks.

Fig. 1.24 Apparel Display Racks

8. End Cap Display: These displays have racks at the end of a two-sided retail stand that shoppers walk by as they travel through aisles. It enables the goods to be seen outside of the traditional aisle spaces. They also have a prime place to attract publicity — customers heading down a prime alley can view these things without heading down the sidewalk.

9. Grid Wall Display: Grid walls are a cost-effective, functional, lightweight, and durable for retail store exhibit. It is crafted with a wired grid that provides an accessible and elegant look in a retail environment, such as generic stores,pop-up stores, rebate shops, kiosks and public expo displays.

Fig. 1.25 End Cap Display

Fig. 1.26 Grid Display

E. Lighting It is an essential and fundamental aspect in visual merchandizing. Creating a visual and aesthetic tone of lighting not only impacts the customer’s perspective, but it can also significantly change the presence of the products in ways that make them look more appealing.

The important lighting hypothesis knowledge will be helpful when trying to minister the store externally.

Additionally, the luminance (splendor), optical temperature and the bearing and focal point of the light are also important factors to acknowledge. The objects on the displays and the organization premises directs in the decision making of the kind of light. For example, any hardware or innovation benefits from colder and more beautiful fluorescent lights, while a bookstore benefits from the warmth of tungsten bulbs in unique fittings.

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F. Finishes and Textures These factors have a major contribution of adding visual interest to the space. It defines surfaces, impact the scale and conveys a design style. The textures and colors have a huge impact on the perception of the space. The appropriate application of finishes and colors creates a distinct brand story of the store.

Moreover, it is identified in a study that color makes brand recognition by up to 80% and the store finishes becomes a passive communication which subliminally affects image insights of customers.

1.1.3 Role of Store Environment Every space is designed based on the end use it is slated to fulfill. The environment of a retail store refers to the design of a retail chain outlet which evokes unique human emotions in customers and increase likelihood of making a purchase. The environment of a store has the ability to influence customers’ in-store actions in an unnoticed yet in a significant way.

A place of worship like a church is designed much differently than a mall or a football stadium. The design is successful if it inspires the user to do the intended activity and the desired way. Thus, retail atmosphere can be defined as those elements of design incorporated in a space which compel the user to do the desired activity.

For a retail space, the desired activity is purchase of products and for it to happen it is essential that the customer is drawn to the store, feels like spending time inside is able to find the desired products and finally able to make the purchase successfully.

To provide a complete shopping experience, it is imperative that the store atmospherics are in place and they appeal to the customer to encourage him to buy. An atmosphere in the retail space is built from the following factors: • External Variables: Store Front, Entrance, Display Windows, Location and the surroundings

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• Internal Variables: Displays, Material and Finishes and Lighting • Store Layout: Circulation Space, Merchandize Category and Signages • Visual Merchandize: Assortment, Theme, Racks and Shelves and Cash Area

1.1.4 Contextual Importance Context plays a crucial role in retail as it is a major factor of the marketing effort. Also, an outstanding location serves as a critical factor that can draw customers. Since the retail stores differ by location, the significance of the brand can vary depending on the context. Owing to their various locations, a mall setup, for example, has a different rate of footfall in customers in comparison with a stand-alone store.

Retailers can choose from a variety of locations. Each site has advantages and disadvantages. Because of the improvement of the territories and the lack of competition, multiple central commercial areas, neighborhoods, and Main Street sites have been more functional than those in the past. There are also several types of shopping centers for retailers, located in an indoor shopping center or ethos, as a specialty, concept, outlet, or main building. Moreover, other unique destinations include virtual locations, malls, resorts, shops inside stores, and temporary locations.

Decisions on where to position a store are critical to the success of every retailer. Location decisions are significant because of their high cost, extended haul duty, and influence on customer service. Choosing the appropriate position category includes: • Target Audience: Aiming for a certain number of desirable consumers who will make a purchase.

• Infrastructure: The measure to which the shop is accessible to prospective buyers.

• Neighbouring Stores: Recognizing the extent of competing and complementary stores while considering the development of the area.

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1.2.1 Brand Identity A brand identity is how a brand portrays itself to the world which is tangible and appealing to the senses.

The identity is the key component of branding which provides the direction, intent and value to the brand. It is a set of brand relationships that the company strives to establish and sustain. The cumulative influence achieves its identity and personality.

Fig. 1.27 Visual Identity of Cadbury

Fig. 1.28 Visual Identity of KFC

Fig. 1.29 Visual Identity of Puma

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Visual identity was termed in the late 1980s serving to create an emotional impression on the viewers. In the economic world, it is a recognized tool to unify the varying aspects of business through consistent visuals. A brand’s visual identity comprises of various components- Logo, typeface, colors, and icons. Brands and branding are inextricably related to visual and verbal identity. The identity is a valuable attribute that needs to be emphasized and up-gradation. Moreover, it fuels the recognition, amplifies differentiation and makes great ideas and meaning accessible.

In comparison to scientific knowledge, identity is a perception supported by evidence. It is the morality of a brand that allows it to be robust and succeed. A brand’s verbal identity includes the phrases or expressions it chose to describe the service or merchandise, including taglines, the brand’s voice, and many other aspects.

Strong branding will assist a company in standing out from the economy and gain consumer trust.

In 1986, J. N. Kapferer developed the concept of Brand Identity Prism to visualize the brand expressions through aspects. He identified six vital characteristics linked with brand identity and represented in prism form.

1. Physique: It describes the physical characteristics of a brand.

(Logo, color palatte, style guide, iconography, etc).

2. Personality: It stands for the voice of the brand which embodies the tone of any communication.

3. Culture: The way of expressing the brands beliefs and missions which interacts directly with everything associated with the brand.

4. Relationship: It is a connection of a brand with the consumers engaging consistent familiarity and the needs of the people.

5. Reflection: It aims to the target audience, confidently pivoting the brand identity.

6. Self Image: A perception of consumers and their visualization.

Fig. 1.30 Kapferer Strategy Diagram

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1.2.2 Brand Image Brand Image is the perceptual concept of a brand that is held by the customers. A brand’s image is the brand’s impulse: it resides in the memory of customers. It evolves with the connections and encounters with the brand. A substantial brand value makes it easier for consumers to connect with the brand and encourages new customers. It is the expression of the brand’s values and perspectives.

Advertising has a central role to play in developing brand image, whether at the corporate, retail or product level. It informs consumers of the functional capabilities of the brand while simultaneously imbuing the brand with symbolic values and meanings relevant to the consumer.

LOGO

TAG LINE

REPUTATION

EMOTION

BRAND IDENTITY

THE WAY YOU WANT FOLKS TO PERCEIVE

BRAND

YOU

AESTHETIC

STYLE

IMAGE

DIFFERENCE

CUSTOMERS ACTUALLY PERCEIVE YOU!

LANGUAGE

TONE

IMPRESSION

Fig. 1.31 Brand Identity and Image diagram

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THE WAYS THAT

BELIEF

1.2.3 Brand Strategy The brand strategy is the brand’s detailed plan for specific objectives - development and progress. To maintain the brand’s image, it incorporates tangible and intangible branding strategies—the theory emphasis within these methods on the delivery of basic principles. These approaches increase brand unity and influence (brand identity, communications) and promote positioning and competitiveness (brand location) with the touchpoints. These strategies aim to improve brand unity (internal branding). The strategies evolve through interdependent positioning of brand, its value, and the management of brand equity. The positioning of the brand in the retail world requires a comprehensive brand identity and a strong perception of consumers. Thereby, it is a crucial consideration for the impact of consumers, boost sales and build brand awareness. The factors considered in the development phase of these strategies are as follows: • Research: Simple process and purpose • Strategy: Continuously engaging • Touchpoints: Audience with the right target • Asset: Sensitivity to competition and research, staff as a corporate face • Design: Strong identity Branding is an approach to promoting the goods and services of a brand, as described by Lynne Mesher. The definition is associated with marketing and influences the consumers’ implicit wishes. It is a society pursued globally by consumerism and by individuals who describe their way of life, desires, and choices through the purchase of goods. The brands are recognized, and users acknowledge part of their daily life. Many brands have advanced in branding strategies to become a product-related mark. Marketing promotes the brand’s identity to the public, and the key demographic will identify with each brand a set of values and principles.

The brand must be consistent, from colors to graphics and the product’s style to the interior. Cohesion strengthens the message of a brand and guarantees the value of the brand.

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A branded environment is effective when it informs, inspires, and engages the consumers. A detailed analysis of marketing techniques such as brand image, positioning, and brand touchpoints is crucial to convey these attributes.

Example of Branding and Brand Strategy A touchpoint and turning point for any brand is it’s retail outlet. The most important factors like the location of the outlet, size and spatial and shopping experience determine the brand strategy.

Fig. 1.32 Nike’s Store Interior

Fig. 1.33 Levi’s Store Interior

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A. Nike The brand that has been a part of our lives since years, has it’s outlets in different neighborhoods. It is usually in vicinity to brands that are it’s healthy competitors. It is usually found in big malls, within residential areas and on posh streets across the world. Generally, the stores are in 900-2500 sq.ft size area.

As a brand, Nike is sophisticated, rugged and competent. It is one of the go-to brands for the most successful sportsmen. The in store experience in Nike is very smooth as it has product displays that are segregated and easily accessible. The reliability of the brand comes from its visual merchandising. The presence of different sections arranged in line with their color and material attributes, makes it comfortable for the customer to pick the product of their choice. The lighting of the store and the over ambience contribute to the total experience of shopping at Nike.

B. Levis An iconic apparel brand which has gained trust from the customers over the years for innovation, quality, performance, durabilty, style and fit. A high quality brand caters to the upper middle class group of people to meet their needs. As a brand, it’s personality is authentic, casual, young and free. The brand stores have presence in urban areas and it is generally found in malls and high street stores. The neighbourhood of the store are the other healthy competitor brand stores.

The spatial experience of the store is welcoming and simple which easily engages the customers. Even though presence of freely accessible product displays

and supporting visual merchandising creates the illusion of it being dependable, its planning, product display density, and the presence of material and color palette creates the impression of it being an authentic and reliable brand. The overall ambiance contributes to the experience of harmony.

Fig. 1.34 H&M’s Store Interior

C. H&M The affordable clothing brand aims to provide a smooth shopping experience. The brand identity is reflected with the displays following the geometric layout. The stores are located in urban areas and are found in malls as well as high street store. The personality of the brand: trendy, fashionable and young is personified through the interactive interior spaces. The range of collections and variety attracts the customers and caters to the middle class group of people. The realibility of the products is achieved from the visual merchandizing in the store. The store’s lighting and overall atmosphere add to the overall H&M’s retail experience.

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Heritage speaks of its time and place but yearn for timelessness.

—

Unknown

02

Adaptive Reuse of Historical Spaces

2.1

2.2

2.1.1 2.1.2 2.1.3 2.1.4 2.1.5

What is Adaptive Reuse?

Typology of Buildings Approaches and Process Strategies Advantages

2.2.1 Good Earth- Jodhpur Store 2.2.2 Mehrangarh Museum Shop 2.2.3 Tianu-The Revival Project

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2.1 Overview of Adaptive Reuse

Fig. 2.1 Adaptive Reuse Diagram

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2.1.1 What is Adaptive Reuse?

Historic buildings outlive their original functions.

Adaptive Reuse is a method in which structures are modified for new purposes while preserving their historic characteristics.

The phrase ‘reuse’ in the terminology adaptive reuse signifies that the structure was previously used for a particular function that has been obsolete. Thus, it requires a potential reuse. The term “adaptive” means that it is not necessarily reused for any function that integrates into it. Moreover, the new use must be adaptive to the building’s scale, location and most significantly the character. The aim is not just to recreate the past but to construct something which is bothcontemporarily valuable and aesthetically pleasing.

Adaptive Reuse involves repurposing or refurbishing an old building which has become redundant to its original purpose. Adaptive reuse offers a new meaning to an architectural structure while simultaneously preserving the historical and cultural significance.

As Schmeling states, adaptive reuse has been used widely in many varying ways of buildings all over the world. Moreover, the principle of adaptive reuse or renovation revolves around the concept of retrofitting, recycling, and repurposing an existing structure to suit our community’s cultural and economic shifts.

The original internal and external structure adapts adaptive reuse, which affects the newly retrofitted structure. Therefore, it interprets a principle of integrating modern and historical architecture to preserve a building’s original and heritage structure while offering an appropriate application.

The reuse of existing buildings has the highest ability to reduce environmental impacts because buildings tend to be responsible for nearly 40% of global greenhouse gas emissions, (Apserou. 2013) whether intentionally or unintentionally linked to operation and maintenance. Despite the several social and economic costs associated with vacant buildings, restoring an old property enables to support the modern needs as part of restoration.

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Merely preserving the most structurally stable elements of an existing structure and adding contemporary materials could double a building’s lifespan. In addition, this approach allows one to encompass existing concept experiences while progressing forward with innovative concepts. It functions as a connection between the traditional and the conceptual. It initiates a connection between age-old design methods with contemporary concepts in science, theory, design, and innovation.

There are many different approaches established for the reuse of a building, each with distinct variations.

However, depending on the design approach, both methods can be incorporated in practice.

Preservation/Conservation: Initiatives to preserve, restore, and retain all historic buildings. Conservation places a high value on retention.

Adaptive reuse (Rehabilitation): Emphasizes the preservation and restoration of existing structures and thereby acknowledges a need to modify and incorporate to a historic structure because of deterioration.

Restoration: It aims to preserve materials from a certain period of the building’s history and eliminate materials from past decades.

Reconstruction: This provides for the re-creation of a non-surviving part of the building or site with appropriate modern methods.

The adaptive reuse of a historical building with only preservation elements offers only a narrative for the building without taking into account the emotional nature of the building. On the other hand, modern reuse has a positive effect on society.

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2.1.2 Typology of Buildings Adaptive reuse is not a stand-alone method. It is the consequence of both budding and program growth.

That may be a new building paired with an existing program or an old building paired with a new program.

For instance, where a need for a current program has already been found, the question arises whether the program can be retrofitted into a new building. If a historic building has already been destroyed or needs consideration for reuse, can a new program for building reuse be developed?

However, one cannot avoid the process of reuse because of the fact that the building already exists which is the most significant aspect of the entire adaptive reuse process. It is essential to consider the building type holistically. It can reveal multiple unknown layers and codes which provide the foundation for creating conceptual approaches for project visualization.

In specific contexts, Schmeling (2018) stated the subjects for building typologies of adaptive reuse which are as follows Industrial Buildings: As industrial growth and patterns evolve, the old factories, mills, and industrial sheds were relocated from the city center to the suburbs.

Religious Buildings: Due to religious beliefs and political power changes, religious structures are frequently modified for reuse with several functions integrated.

Community Buildings: Publics buildings like old schools, hospitals, and airports, are frequently reused due to their outgrown purposes.

Political Buildings: Buildings with important historical occasions which serve as an emblem of authority as well as heritage significance such as palaces are often adapted for use as hotels, museums, library, public sector offices.

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Individual Heritage Buildings: Old buildings with distinctive architectural styles such as traditional bungalows or mansions are often transformed into small boutiques, eateries, cafes, and restaurants.

2.1.3 Approaches and Process Adapting an old/traditional architecture to meet modern needs necessitates an intelligent and attentive approach to addressing the issues and requirements relevant to the existing building, including the contextual, physical, functional, technological, place identity, and customer experience.

This method can be divided into three stages: Analysis — New Program — Strategy The review of the existing building, which contributes to the assessment of new specifications which can retrofit - the newly established curriculum, which aids in leading the plan to fulfil the current requirements.

The technique then controls the general plan for the building design and recognizes its eventual reuse which contributes to visualizing the specifics of a building’s renovations. However, these phases can eventually intersect.

Accomplishing a sustainable design approach for adapting a historic building and retrofitting it to reflect modern needs which necessitates a process of identifying all the design requirements and aligning them with the design approach stages discussed above.

Analysis: An architect or a visualizer cannot avoid the articulated sense of the building. The method emerges from the interaction of buildings (the framework, background and history, narrative, form, aesthetics, typology) and programs (new usage, purpose, need, capital).

The study of an existing structure assists in the development and the justification for the reuse and remodeling. Moreover, many conceptual possibilities may arise from an existing building typology,

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The analysis of these openings will lead to a redesign strategy.

New Program: As time progresses, the program maintains the tradition of the past (a familiar world and a sense of identity) while incorporating their understanding to fulfil their new needs. However, it is therefore critical to understand the changing demands are and the contribution to the adaptive reuse process.

The Changing Needs: Transformations in culture is constant, progressive and uncertain. As a result of this aspect, buildings would need to respond to society’s changing demands effectively.

Strategy: The critical part of transforming a building for reuse is the interaction between existing and modern. The approach is a program which informs and guides the new proposal to reuse a building consciously or unconsciously. A technique is a manifestation and description of an overview of a building environment, physical condition, and the conditions of new utilization.

Nevertheless, when a building is to be reused, the most significant and meaningful aspect is the original building which necessitates the development of a strategy by addressing a significant problem: what does the building want to become? In this situation, the modern transformations cannot work without the existing buildings. However, the design’s consequence would be overwhelmed by the new software which must be reconfigured.

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Fig. 2.2 Approach and analysis of Adaptive Reuse

2.1.4 Strategies This unique relationship between old and new brings rise to a symbiotic approach which can be categorized into three classifications: intervention, insertion and installation that contributes to a seamless integration of the existing building and the new components.

Intervention: For intervention, the modification of a building responds to signals obtained from the existing building alone.

However, the building will need to be condensed to retrofit the new program. The building layers need to be retold by reinvention, remodification, reproduction, extension or revealing to renew the location.

Insertion: Insertion creates a symbiotic bond between new and existed by introducing a new element within, inbetween or besides which is powerfully conflicting and argumentative to the existing structure. Additionally, the newly inserted feature distinguishes a distinctly contemporary vocabulary, style and content against the antiquity of the original building.

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Installation: The character of elements that comprise the installation is positioned to enhance the existing building experience and coincide with each other without intervening in this situation. Installation could also relate to permanent or temporary structures alongside an existing structure to meet additional functional demands on the site.

Fig. 2.3 Strategy Diagram

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2.1.5 Advantages When conservation and rehabilitation are approached successfully, it has social, economical, cultural and environmental benefits.

Social: Culture, rituals, architecture, language and every social and technical aspect of each region which manifest their inherent uniqueness in a range of methods. At present, it is essential to conserve those cultural features in the age of globalization. The factors for this are as obeys: • It assists as individuals and spaces in retaining their identities.

• It helps individuals to become more mindful of their core beliefs which leads to more stability in their lives.

Cultural: Local and sociocultural dynamics determine the scope and essence of manifestations. Culture must be respected because of its inherent value and importance to a place’s history. In addition to physical influences such as climatology, customs and traditions can be seen in a place’s architecture. These cultural representations have the significant capabilities: • Inspire and assist designers in the conservation of heritage.

• Offers educational importance for the society.

• It helps to understand more about other cultures induces immigrants to come. This desire also applies implicitly to the philosophy of tourism. Enabling cultural mixing which is essential in today’s world to create harmony in diversity.

Economical: This becomes a financially viable strategy because: • Avoiding demolition expenses and saving time.

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• Rather than constructing a new structure, existing capital should be used for small jobs that the building requires.

• Since the old structures were built from local supplies, local materials and resources can be used when rebuilding and rehabilitating them. In addition to addressing the social cause, this would restore ancient values, create new jobs, and reduce costs.

• The existing infrastructure will be used.

Environmental: Throughout the history of construction, the materials chosen were locally available. This is indeed efficient and cost-effective, although it functions well with the prevailing climatic conditions. For instance, sandstone is a locally accessible building material which often serves as a shield against the high sun and heavy desert winds. Understanding the advantages of locally available materials, it will result in• Energy efficiency and conservation.

• Reducing carbon footprint.

• Developing and implementing appropriate climate management strategies. The demands of new functions may not necessarily complement those of the original functions, but sufficient super-imposition and adaptation for the existing planned functions is essential.

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-pooja

Illustration of Good Earth Jodhpur Store

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2.2.1 Good Earth- Jodhpur Store Location

: Jodhpur

Designed By

: Rooshad Shroff

Year of Completion : 2015 Area

: 1,950 sq.ft

Original Structure

: Multistorey Haveli

Good Earth is an elevated home decor company with a proud Indian heritage. It celebrates the affection of locally sourced craft and the artisans behind it, the store is partnering for a contribution to an urban regeneration program designed to restore glory to Jodhpur’s ancient Walled City. The project is a genuinely unique shop in the heart of this historic neighborhood, built to be more of a cultural experience than just another retail store.

It is located across from the popular Jodhpur stepwell, which serves as a source of inspiration and a starting point for the design language, and is housed in an old multi-story haveli which serves as a source of inspiration and a starting point for the design language.

The store sells the heady tale of a souk, one that intentionally invigorates the five senses more than any product. The haveli is divided into themes and houses the brand’s beautifully designed items, which are strategically positioned protagonists of a twenty-year journey.

The concept is inspired from a narrative which also includes connections not just to the past, but also with the local context in which the store is situated.

The architect was influenced by the Toorji ka Jhalara stepwell across the street and thus certain areas of the store offer a feel of an amphitheater.

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A. Location

Fig. 2.4 Store Location

The site is located in the densely populated part of Jodhpur with a very rich heritage. A 18th century stepwell is located across the building adding to its value.

There is a axial approach to the building. From the street one walks through a big open space, which acts as a meeting point and threshold before entering the building.

B. About the Site The Good Earth store outlet is housed in a Moon House Haveli- a heritage haveli which is almost 90 years old. The building blends smoothly with the brand as the identity replicates arts and crafts tradition which connects with the historic period.

The inspiration behind the interiors of the space comes from the brand history about the old Silk Route—the several trips from the ancient trail, sights and sounds has influenced the brand’s key collections.

The store is thus a contemporary re-imagination fashioned aligned to the typical Silk Route souk—a little contribution of Samarkand (a city in Uzbekistan)and a dash of the Bosporus (waterway in turkey).

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Facade treatment: The entrance of the store is renovated at multiple levels- the ground level is raised to the existing plinth Structure to unify the ground level by demolition of the unnecessary plinth. Additionally, the entire floor is covered with Red Stone flooring which is locally sourced material.

Surrounding: The wall’s on the either side of the Haveli are built uptil the foremost structure which gives the Haveli a distinct identity. The service pipes are removed and the visible water tanks on the terrace is covered by the walls.

Existing Plinth

Fig. 2.5 Existing Haveli

Watertank

Evened Plinth

Fig. 2.6 Post Reuse -Good Earth Store

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B. Facade

The facade magnificently retains the Haveli structure with efficient brand approaches. The intricate stone jalis connect to the historic times and glorify the beauty of craftsmanship.

Backlit Brass Signage

Lights

Fig. 2.7 Store Entrance

Entrance: The entrance is lit with warm lighting fixed in the flooring lightning the facade from the bottom surface to up the structure. The unnecessary lighting and electrification services are avoided and thus respecting the heritage structure. The addition of plants brings life to the space.

Signage: The brass backlit signage is fixed over the brackets on the facade.

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The closed windows on the first floor are transformed into fixed glass windows enabling the source of natural light and also attracting the visitors by having a partial see through to the space.

Windows

Signage

Window Display 1 Window Display 2 Closed back window display

Fig. 2.8 Good Earth Facade

The arches are transformed into display windows by covering with glass which then functions as glass open back display window allowing to see through into the store.

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Other Havelis

Service

Chowk

Threshold Staircase

Haveli

Ground Floor Plan

Entry Fig. 2.9 Old Haveli Plan

Entry

Ground Floor Plan

Fig. 2.10 Adaptive Reuse into a store

Staircase

Structural Member

These drawings indicate the transition of the spaces by the addition of interventions.

The staircase and a structural member on the first floor are the only interventions made, thus keeping the essence of the haveli.

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First Floor Plan Fig. 2.11 Additions done for the store

C. Store Layout The haveli previously functioned as a residential building which is now transformed into a concept boutique retail space on the ground and first floor. The store is not a merely retail space but also crafts a rich cultural experience through the room spaces.

Each room of the haveli narrates a brand story with the products, display and branding strategies. Moreover, the identity focuses on the cultural context of the location and reflects the heritage elements through the design language.

1 2 3 4 5 6 7

A

Tableware Room: The store entrance opens up to the Tableware room where the table display in the space is inspired from the the stepwell- Tuwarji ka Jhalra and the color palatte is inpired from the Art Deco.

The traditional terrazzo flooring with geomteric patterns compliments the space.

Tableware Room Storage Spa Room Display Window Cash Desk Home Furnishing Room Courtyard

Fig. 2.12 Ground Floor Plan

Fig. 2.13 Tableware Room

Fig. 2.14 Display

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Fig. 2.15 Good Earth Facade

Open Back Window Display

Closed Back Window Display

Fig. 1.16 A-Ground Floor Part plan

Display Window: The room space is transformed into a closed back window display and cash desk area. It displays the beauty products on a circular gondola display system.

The lantern lights (home decor) in itself is a display and also lightens up the display area.

Fig. 2.17 Closed back window display showcasing gondola display

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Spa Room: The spaces reflects a hand painted wall and ceiling in Nathwada style by the traditional Pichhwai artisans. The wall fixed unique circular displays are designed for displaying soaps and the system is crafted in brass metal and textured glass covering on it. The other wall shelf displays beautifully merge with the surface finish and has lights fixed beneath the shelves for the products.

The space is air conditioned by high wall AC units which are positioned such that they blend in with the interiors.

These are further painted to blend in with the theme of the space.

Fig. 2.18 Spa Room

Circular wall display

Shelf detail with fixed light beneath

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Courtyard: The ground and upper floor levels guide into an openair inner courtyard with an enticing forest motifs along with Rajasthani pichhwai paintings of nature and animals. The ceiling is covered with polycarbonate roofing material supported with a metal structure.

The brand’s signature lanterns are hung from the ceiling which does visual merchandizing and also enhances the space. The space also provides a sensorial experience by it’s wafting incense aromas.

The space offers tasting of the herbal tea and coffee for the visitors.

Fig. 2.19 Courtyard

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1 2 3 4 5

Apparel Room Consultation Room Changing Room Storage Trellis

Fig. 2.20 First Floor Plan

Apparel Room: The space reflects Art Deco color palatte in surface finishes and materials.

Every corner of the space is occupied by various displays by respecting the heritage elements and conveying to the another use. The ‘khadki’ have been used as display corners which are covered with wooden framed glass and thus adding value to the space. The khidki display in itself has an inbuilt display inspired from the step well, individually highlighting each peice of jewellery.

Fig. 2.21 Apparel Room

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The swing is hanged from the ceiling with the support of additional structural member, in which the seating surface material has transparency depicting the minimalistic approach of design.

The lantern lights are inspired from the city’s Sufi Festival, made from fabric.

It connects to language of garments and represents elegance.

The apparels are hanged in wooden apparel rack displays and has low heigh cabinets for the storage.

Fig. 2.22 Apparel Room

Khidki Display

Lantern Lights

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Fig. 2.23 Apparel Room

Changing Room: The dark theme based changing room takes the inpiration from Art Deco period. The walls are are painted with geometric patterns and ceiling covered with painting. The flooring is covered with carpet with traditional motifs.

The brass framed mirror element enhances the space.

Fig. 2.24 Changing Room

Consultation Room: The room has low light with a mood ambiance.

The stone walls and the jali reconnects to the old structure and the seatings with traditional motif pattern upholstery of the city.

Fig. 2.25 Consultation Room

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E. Visual Merchandizing

Fig. 2.26 Ground Floor Plan

Table Displays Shelf Display Rack Display Wall Display

Fig. 2.27 First Floor Plan

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Fig. 2.28, 2.29 and 2.30 Table Displays

Fig. 2.31 Rack Display

Fig. 2.32 Wall Display

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F. Elements Furniture: It is inspired from art decofurniture pieces which were a nod to the city’s famous Umaid Bhawan palace.

Fig. 2.33 Metal Furniture

Flooring: The floorings is achieved in Indian white marble and terrazzo which is city’s locally available material.

White marble Flooring

For adaptive reuse, the renovated flooring has been done in the same flooring type with geometric patterns.

Old Terrazzo Flooring

New Terrazzo Flooring

Fig. 2.34 Terrazzo Flooring

The air ventilation outdoor unit and DB is placed in the courtyard area and covered with a jali.

Fig. 2.35 Jali

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Lights Fixtures: The use of adjustable track lights is observed in all the room spaces.

These strip lights are used in Apparel room for the ambiance lighting .

Fig. 2.36 Strip Light

Fig. 2.37 Track Light

Murals: Marble, wood and Brass materials is observed in the spaces. The wall and ceiling murals are executed in the traditional pichhwai style by local craftsmen which add embellishment to a well-woven tale.

Fig. 2.38 Wall mural and hanging

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-pooja

Illustration of Mehrangarh Museum Shop

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2.2.2 Mehrangarh Museum Shop Location

: Jodhpur

Designed By

: Studio Lotus

Year of Completion : 2004 Area

: 2,550 sq.ft

Original Structure

: Fort

The Mehrangarh Museum Trust is India’s leading cultural institution and center of excellence which was established in 1972 by the 36th Custodian of Marwar-Jodhpur, to bring the fort to life for tourists.

The detailed research and an in-depth approach to adaptive reuse reveal the exquisite original structure of the Mehrangarh Museum Shop at the 15th-century fort while using design intervention to revitalize its business.

This systematic evaluation the renovation and reinterpretation of a space inside the Mehrangarh Fort in Jodhpur that had previously served as a place that sells regional heritage items and memorabilia.

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A. Location The shop is built in one of the India’s largest forts situated in Jodhpur, Rajasthan. It was built in 1459 which stands 410 feet above the city and is surrounded by towering thick walls. It is around 2 kilometers away from the main city of Jodhpur. There are many palaces within the walls that are renowned for their exquisite carvings and vast courtyards.

Fig. 2.39 Mehrangarh Fort Location

B. About the Site

Fig. 2.40 Mehrangarh Fort

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The store rejuvenates the heritage structure entirely built from sandstone and locally available materials. It demonstrates the mystical rhythm of the colonnade of arches that connect the space altogether.

It celebrates the craftsmanship of the local vendors and contribute to sustainable aspects. The material palatte comprises of the local sandstone, tempered iron, local rosewood and glass.

Fig. 2.41 Entrance and display sketch

Fig. 2.42 Exploration Sketch

The above sketches are exploration ideas for various kinds of display systems in the interior. The ideas revolve around free standing designs or minimal approaches, giving imporance and value to the heritage structure.

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C. Store Interiors The approach towards adaptive reuse removes the modern day renovations done in the site over the years.

The new interventions are minimal and contemporary display designs which enhance the space by its organization and design.

The store’s floor and walls were stripped bare to showcase the original stonework’s quality and to give customers the feeling of walking through a “historical relic”.

The store entance welcomes with a beautiful heritage structure. The entry to the space is from the multifoil arch with absence of doors and signage.

The glance of the displays are allowed at the entrance point and welcomed by the green life, connecting to the nature.

Fig. 2.43 Store Entrance

The site previously had several coats of limewash on the walls and the colonnade of arches that connected the space, there was exquisite stone texture and carvings that had already been covered up by the layers of paint applied over the years.

Fig. 2.44 Site before renovation

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Fig. 2.45 Site before renovation

Old Display Area I: The old museum shop was covered with finishes and various materials which concealed the originality of the grandeur space.

Different types of display systems were used in the space, covering the walls surfaces of the store.

Display Area I: The space restores its authenticity by the removal of layers of finishes. The introduction of monotony by revealing the stone structure creates an interesting space.

The display systems have minimalistic approach.

They are free standing to avoid the surface contact in order to respect the historic building.

The transitional spaces are transformed into entirely open spaces by the removal of the door elements. Thereby, the arches demark the spaces.

Prefabricated copper-clad cubes with pre-attached lockable glass shutters were inserted into existing stone niches to create spaces for valuable items such as jewelry.

Fig. 2.46 Old display Area I

Fig. 2.47 Display Area I

Fig. 2.48 Garments Display

Fig. 2.49 Niche Display

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The cash desk area is replanned in the space.

The mirror element is introduced in the cash desk to retain the continuity of the space.

Fig. 2.50 Old Cash Desk

Fig. 2.51 Cash Desk

C. Store Display The visual merchandizing is done in various ways in the store. The similar aspect of the display systems: minimalistic design and has minimum contact with the surfaces.

Table Displays: All the table displays have consoled tabletops which are crafted from locally available sandstone. The structure is made in metal with black finish.

Shelf Display: The shelf diplay have metal structure with black finish and locally sourced wooden shelf tops.

Fig. 2.52 Display Area

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Customized Display: A minimal and simple modular display system is built by the local artisans.

All the fixtures are mounted on expanding pressure rods with rubber mounting on either side, with accent lighting highlighting the architecture and product lighting.

The entire design is done with the intention of not drilling a single hole in the walls or ceiling. Moreover, around the existing stone columns, special pressure clamps were created to keep the entire show in place without any structural elements damaging the old framework. With respect to the historic architectural buildings and monuments, specific limitations are followed to avoid the damage of the original structure.

Fig. 2.53 Display Area II

Fig. 2.54 Display Structure

Fig. 2.55 Display Area II

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-pooja

Illustration of Tianu Project

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2.2.3 Tianu- The Revival Project Location

: Mumbai

Designed By

: Studio PKA

Year of Completion : 2020

“ The Revival Project speaks of a desire to recover and respect the past, an ode to architectural heritage in Mumbai” - Puran Kumar

Area

: 4,000 sq.ft

Original Structure

: Heritage Structure

Tianu is a handcrafted and contemporary teakwood furniture design brand. The brand intended to relocate from their current location to a new location to define the sensibilities as furniture designers, art connoisseurs, and strong supporters of the city’s architecture and heritage.

Studio PKA viewed Tianu as an opportunity to efficiently refurbish a space inside a heritage framework – which further helps restore and is commercially sustainable while acknowledging the value of preserving the remains of a bygone period.

Since the building was devoid of a connect with the street, a vital intervention was access to the store.

Adaptive reuse of obsolete and abandoned spaces inside the heritage precinct can efficiently rekindle an infatuation with the past. By reactivating a vacant corner of Ballard Estate, the store aims to inspire businesses to participate in reusing and restoring historic buildings within the neighborhood rather than depending on the ‘modern.’ Tianu – The Revival Project is a revival for both the room it utilizes and the context in which it exists.

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A. Location It is situated in South Mumbai Victorian-era house in Ballard Estate. This area is Mumbai’s original central business district. Although Ballard Estate exudes grandeur, the precinct has lost its lustre over time.

Despite being in excellent condition, most houses are empty and deserted, although glass spires sprout up in some areas of the city to take their place. New innovations and building improvements, on the other hand, affirm the desire to inhabit spaces within the city.

The surrounding buildings in Ballard Estate are commrcial along with government and corporate offices.

Fig. 2.56 Tianu Location

Fig. 2.57 South Mumbai Map

B. About the Site Ballard Estate is a business district in Mumbai. It is an iconic are known for European Renaissance style Grand Hotel and Port houses.

Fig. 2.58 Ballard Estate Location

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Fig. 2.59 Old Ballard Estate

Fig. 2.60 Old Feltham House Exterior

Fig. 2.61 Tianu Exterior

In order to respond to the needs of the client and respect the nature of the space, minimal interventions have been carried out. Adaptively Re-Using old and defunct spaces within the heritage precinct could effectively rekindle a tryst with the past.

Fig. 2.62 Old Entrance

Fig. 2.63 Old Entrance

Fig. 2.64 Store Entrance

On the removal of plaster, the arched entrance is discovered and renovated.

The classical arched entrance and windows are redesigned to restores the heritage elements.

Fig. 2.65 Old Window

Fig. 2.66 Old Window

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C. Store Layout

1 Retail Floor Space 2 Cabin 3 Huddle Area 4 Pantry 5 Toilet Fig. 2.67 Ground Floor Plan

Entrance: The frontage encourages the visitors, potential buyers, and also enables the street by serving as a virtual extension of the pavement outside – through the wood and glass vestibule which juts inwards and encourages elements of the shop to percolate out.

Fig. 2.68 Store Entrance

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Retail Floor Space: The store boasts of an open floor plate that extends from the entrance till the cabin at the back. A screen is located under the mezzanine which divides the retail space in two and inevitably indicates a separation.

Fig. 2.69 and 2.70 Retail Floor Space

Fig. 2.71 Retail Floor Space

The cement board partition is designed as a versatile intrusion which serves as a backdrop for art and furniture while still restricting and allowing visual access to and from the store’s entrance through louvres.

Fig. 2.72 Retail Floor Space

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1 Workspace 2 Huddle Area 3 Store Room 4 Loft Area 5 Retail Floor Space below 6 Dinning Fig. 2.73 Mezzanine Floor Plan

The space acquired double-heighted open floor plate which was interjected by a low-height mezzanine, boarded-up arched fenestrations and no connection to the street.

Mezzanine: The mezzanine is retained and used as the workspace - The interplay of levels within a heritage structure adds to the character of the space – an insert that breaks the homogeneity of a single plane. On the whole, the insertions respect the space for what it was.

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Fig. 2.74 Mezzanine Area

Huddle Area: The space is equipped with a simple material palatteterrazzo tiles flooring, wooden furniture and storage cabinets, glass windows for partial see through from the meeting space and wooden louvres covering the ceiling and thus hiding the services.

Fig. 2.75 Huddle Area

Display Area: The space offers a neutral color and material palatte with exposed concrete ceiling, kota tiles and wooden furniture. The printed upholstery and tint of yellow color in cushion covers and paintings brings a spark into the space.

Fig. 2.76 Display Area

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Store room

Workspace

Huddle Area

Huddle Area

Retail Space

Retail Floor Space

Retail Space

Entrance

Fig. 2.77 Section AA’

Entrance

Retail Floor Space

Huddle Area

Workspace

Retail Space Fig. 2.78 Section BB’

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Store Room

Huddle Area

Mezzanine level walls repainted Exisiting partitions demolished to open floor space

Mosaic tiles retained in mezzanine level Plaster removed to expose brick walls on ground floor

Doors bolted and blocked from inside

Fenestrations opened up to enhance quality of space

Shuttering and brickwork demolished to facilitate new entrance

Mosaic tiles striped off the ground floor level

Fig. 2.79 Transition of the space- Axonometric Diagram

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Summary The study of the sites with different approaches of adaptive reuse are recognised. The purpose and the method of approach are:

Good Earth Store

Mehrangarh Museum Shop

Tianu: The Revival Project

Fort Shop

Victorian Era House

Renovation

Renovation

Intervention

Intervention Installation

Building Type

Haveli Purpose

Restoration Strategy

Intervention Insertion

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A world where ancient wisdom is infused with modern aesthetic.

— Howard Schultz,

ceo, Starbucks

03

Case Studies

3.1

Brand- Forest Essentials 3.1.1 Brand Introduction 3.2.1 Juhu Store 3.3.1 Lulu Mall 3.4.1 Jodhpur Store

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3.1.1 Brand Introduction

Fig. 3.1 Forest Essentials Logo

A. About the brand Industry Wellness and Cosmetics Founded 2000 Headquarters New Delhi Presence India, UK, UAE, US, Australia

Forest Essentials is an authentic and conventional skincare brand founded on the ancient science of Ayurveda in year 2000, India. As a founder of Luxurious Ayurveda, it has flourished into the quintessential brand of Indian beauty, fusing ancient Ayurvedic beauty traditions with a contemporary, modern style for an essential element on efficiency, multisensory experience, and delight of use.

The brand believes in an ecologically conscious environment, women’s economic empowerment and social contribution. They are certified clean and cruelty free beauty. Their products are Ayurvedic-certified and influenced by Ayurvedic preparations.

Forest Essentials was created as a tribute to Mother Nature. The brand brilliantly combines a traditional Indian Ayurveda philosophy with luxury and produces cosmetics, that are organic and super effective.

“ A world where ancient wisdom is infused with modern aesthetic.”

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B. Logo

1

2 Fig. 3.2 Forest Essentials Logo

The company’s logo is composed of a wordmark and an emblem above it. The gold and white color scheme of the company’s visual identity is a reflection of elegance, beauty, and splendor. It makes the logo look high-end and evokes a sense of quality and effectiveness.

1. The recognizable brand’s icon features a fine image of a tree, enclosed in a circle. According to the company, it is a Tree of Life, which symbolizes the Law of Nature and the fact that all life on our planet is related. It is a perfect graphical representation of the organic cosmetic’s brand essence and purpose.

Fig. 3.3 Tree of Life

2. The typeface is very elegant and has its serifs distinct and elongated, creating a timeless sense of classic design.

The bottom part of the inscription contains “Luxurious Ayurveda” lettering, which is also in all-caps but executed in a clean and thin sans-serif typeface, which adds a modern and strong feeling to the logo, accenting on quality and progressive approach.

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C. Color Palatte

Fig. 3.4 Forest Essentials Brand Color

Fig. 3.5 Forest Essentials Festive Color Palatte

The brand label colors are inspired from the semiprecious stones which were significantly used to make the pietra dura inlays namely – jasper, carnelian, and topaz – and contribute to the brand’s luxury.

D. Design and Packaging The brand identifies itself through Indian heritage via a series of illustrations on the special product collections which are directly influenced by decorative artworks of Mughal. These were especially the pietra dura marble inlay works depicted on well-known Mughal-era Indian monuments such as the Taj Mahal, Humayun’s Tomb and the Red Fort.

Fig. 3.6 Mughal Motifs

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These Mughal decorative motifs indicate luxury, opulence, and relative wealth.

The use of such Mughal aesthetic helps the brand interact with attributes such as persistence and rituals, which, as Lena Fäustle and Kate Lottridge pointed, are “components of heritage which make a brand rich with elements of the past and relevant to the context of the present and future.”

Fig. 3.7 Brand Identity

Fig. 3.8 Mughal Motifs

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A signature of the Kampani Kalam work of art, the section of the house dedicated to women, in royal India. In an era without cameras, the Company style of paintings captured daily life of India with its beauty, realism, and perspective. This curation encapsulates handpicked essentials.

Women of the Zenana

Fig. 3.9 Product Packaging

As featured in “Oriental Memoirs” by James Forbes, the renowned illustration on this gift box is of the Indian Nightingale bird, Bulbul, perched on the Custard Apple tree. Indian plants were a subject of great interest for their medicinal and therapeutic value, in addition to their vivid beauty in the field of art.

Indian Nightingale

Fig. 3.10 Product Packaging

It captures the vivid depiction of men and women on a bare background engaged in crafts and occupations, group dances during festivities, and religious processions.

Group of Dancers

Fig. 3.11 Product Packaging

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E. Brand Personality

Elegant

Ayurvedic

Modern

Made in India

Care

Lifestyle

Luxury

Beauty

F. Product Range The brand was launched in India and now has its presence globally. Despite of their physical presence, they also ship the products in Europe and some other countries.

Cosmetics

Perfumes

Skincare

Fig. 3.12 Product Range

Fig. 3.13 Product Collection

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The natural skincare and hair care products promote the Ayurvedic philosophy with a holistic approach.

The beauty care is desired, with only naturally distilled pure essential oils, pure cold pressed, organically grown vegetable oils, and plant extracts using it in skin applications. In the union of their herb products, oil recipes, and Vedic remedies, they use old Ayurvedic formulations from scholars. It is then interspersed with an interpretation of a contemporary biochemist’s point of view to produce goods with a background of India’s oldest science yet delivered in an easy-to-use format.

Their products are broadly divided into four categories: Haircare, facial care, body care, and wellness.

Fig. 3.14 Product Range

G. Brand Presence The brand was launched in India and now has its presence globally. Despite of their physical presence, they also ship the products in Europe and some other countries.

Flagship Store

Store

Mall

India UK UAE US Australia Fig. 3.15 Brand presence globally

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Airport

Heritage Building

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Forest Essentials Juhu Store Location Mumbai Designed by Design by Meta Year of Completion 2013

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3.2.1 Site Location The store is located at street facing shop situated in an apartment building site at Juhu, Mumbai.

Fig. 3.16 Store Location

Fig. 3.17 Store View

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3.2.2 Plan The store plan reflects a mirror geometry following a loop-store layout with displays and engagement throughout the circulation pathway. It has two separate openings for entry-exit. Moreover, it has a C-type banquet seating in the between space of the openings.

The retail space is segregated into: • Display Area • Seating Area • Cash Area • Storage Space • Wash Area

Fig. 3.18 Store Plan 1 2 3 4 5 6 7

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Entry/exit door Display window Mirror Panel Display Window Banquet Seating Table Display Artwork Display Panel Display Case I- Dark Wood Finish

8 9 10 11 12

Cash Counter Display Case II- White Duco Finish Wrapping Desk Toilet Store Room

3.2.3 Facade The store façade has an elegant design with intricate details and lighting. The signage area is cladded with grey marble and the backlit brass logo. The central part- display area has glass displays with mirror panel in the background

Fig. 3.19 Facade

Fig. 3.20 Store Elevation 1 2 3 4 5 6 7

Grey Marble Cladding Brass Signage Glass Wooden Door with glass panel Display Windows Display Windows with back mirror panel Black marble sill

3.2.4 Entrance The store has two different doors for entry and exit with wooden and glass traditional doors. The doors have glass display windows with mirror panel on the either sides and the central display windows have laminated glass with gold leaf work wooden frame.

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3.2.4 Furniture

Fig. 3.21 Furniture Plan

1. Banquet Seating: The C-type banquet seating is aligned to the central space of the store.

The upholstery is neutral in color.

Fig. 3.22 Cash Desk Plan

2. Cash Desk: The cash desk is designed at the centre of the store in wooden traditional table and classic wooden chair.

Fig. 3.23 Cash Desk Elevations

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Fig. 3.24 Section I details

2. Wooden Jali Work: This decorative intricate work is achieved on wood and finished with cream duco. This Jali design acts an partition to conceal the sevice units and thus allowing the AC ventilation air to circulate through the jali punctures.

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Fig. 3.25 Section II details

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Forest Essentials Lulu Mall Location Kochi Designed by Design by Meta Year of Completion 2015

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3.3.1 Site Location The store is located in a corner shop situated on the ground floor of the shopping mall in Lulu, Kochi.

Hypermarkets Lulu Celebration Area Brand Stores Forest Essential Store Fig. 3.26 Lulu Mall ground floor plan

Fig. 3.27 Lulu Mall

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3.3.2 Plan The store is well designed, following a loop-store layout. The entire store walls are surrounded with displays, creating an engagement throughout the circulation pathway. The central area of the space offers a seating area alongside display tables. The cash counter is free standing in the core of the store.

The retail space is segregated into: • Display Area • Seating Area • Cash Area • Storage Space • Back Office

Fig. 3.28 Lulu Store Plan 1 2 3 4 5

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Entrance Octagonal Banquet Seating Table Display Consultation Table Display Case I- Dark Wood Finish

6 7 8 9 10

Display Case II- White Duco Finish Artwork Display Cash and Wrapping Desk Back Office Storage Area

3.3.3 Facade The design of the facade is simple and minimalistic with the brand signage board placed on the top with a backlit brass signage. A section of the store front has mirror glazing for the transparency of viewing the displayed products.

Fig. 3.29 Store Entrance

Fig. 3.30 Facade

1 2 3 4 5 6

Artwork Display Table in dark brown finish Backlit Brass signage Structure Column Lightbox Octagonal Banquet Seating

Entrance: The store has a center-based open entrance with lightbox displays on either sides. It is aligned with the cash desk and a central octogonal banquet seating for the visitors.

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3.3.4 Furniture

Fig. 3.31 Furniture Plan

1. Cashdesk: It is placed at the centre of the store which has a central cash desk and wrapping desks on the either sides. It is a traditional table with dark wooden finish and wooden details.

Fig. 3.32 Cash Desk Elevation

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Fig. 3.33 Cash Desk Plan

2. Seating: It is a traditional octogonal banquet seating with dark wood finish and exclusive upholstery. It is placed in the central area.

Fig. 3.34 Banquet Seating Plan

Fig. 3.35 Banquet Seating Elevation

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Fig. 3.36 Section I Detail

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Branding These stores are a modern and experientially rich spaces with Indian craftsmanship, albeit with a modern twist. To store environment has aesthetic vocabulary with classical detailing and Indian heritage theme incorporated.

The interiors reflect redolent of beauty, a rich heritage, luxurious yet modern, ornamental, and contemporary designs. It portrays the Indian modern Shish Mahal which adds the value and personality to this deeply rooted Indian brand.

Fig. 3.37 Juhu Store

Fig. 3.38 Lulu Store

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A. Visual Merchandizing The Forest Essentials stores have a style reminiscent of a 1970’s cosmetic showroom with thick, white and dark brown finished shelves inset in minimal wall niches set on low counters suspended a few inches above.

Wood with both dark brown and cream polish alternate to evoke both richness and a light, modern sensibility against a limited, disciplined color palette that includes gold, black, and aqua accents.

The display cases have crown mouldings and fixed lighting underneath the shelves for highlighting the products. Mirrors are placed behind the shelves for additional light illumination which enhances the customer experience.

Fig. 3.39 Lulu Store Visual Merchandizing

The light boxes are informative. It conveys scientific p r o d u c t information. For example, use and benefits of saffron, sandalwood, cinnamon etc.)

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Fig. 3.40 Juhu Store Visual Merchandizing

Fig. 3.41 Case Display Detail

Table Displays: There are various wooden traditional tables placed all over the stores for product display.

These significant circular tables have marble tops and sinks placed with fountain water dispensers in the central space. These are designed as the brand caters to the relative products.

Fig. 3.42, 3.43 and 3.44 Table Displays

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B. Surface Finishes Walls and display cases are given baseboards, chair rails, crown moldings, and strict symmetry throughout the plan, imparting a new sense of calm and order.

The mirror and reflected light is an important theme in the stores. The dropped ceiling, disco era feeling, and 19th-century chandelier represents mixed emotions.

The marble patterned floors that get reflected in the mirror-work ceilings endows the space with an ornamental feeling that, when combined with the ‘stained glass Jali work gives the space a formal, clean, yet very decorative feeling.

Fig. 3.45 Juhu Store environment

Fig. 3.46 Lulu Mall Store environment

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C. Light Fixtures The stores have warm downlight on the ceiling for the ambiance and a chandelier. It is placed in the central area of the store. The 19th century chandelier is retained from the former space and forms a suitable surrounding.

Fig. 3.47 and 3.48 Chandelier

D. Elements Art Works: The Forest Essentials brand culture is further developed with a series of photographs printed on canvas.

These depict traditional ayurvedic beauty rituals and are mounted like oil paintings in niches amidst the architectural framework that holds the company’s products.

Fig. 3.49 Printed Canvas

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Forest Essentials Jodhpur Store Location Jodhpur Designed by Architecture Discipline Year of Completion 2017 Area 750 sq.ft Original Structure Residential Building

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3.4.1 About the Site Tunwarji Ka Jhalra, an overlooked stepwell in the heart of Jodhpur, was covered with muddy, stagnant water up to ground level. The historic building and its surroundings are currently boldly refurbished and redesigned as a burgeoning cultural boulevard in the city.

Advancing towards the Stepwell square in the old city of Jodhpur one comes across the most prominent building of the JDH Urban Regeneration program. A minuscule and congested residence-turned-retail space. This project in Jodhpur is a residence turned retail space by adaptive reuse of conventional old city structure. The ideology which drives this project has a central vision of marrying 18th-century architecture with 21st-century elements to construct an unrivalled visual experience.

Fig. 3.50 Existing Residence

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3.4.2 Site Location and Context The site is surrounded with residential and commercial buildings. It is situated in the heart of the city.

Fig. 3.51 Store Loaction

Toorji Ka Jhalra A stepwell which holds a historic value in the city built in 1970’s by the queen. It is believed and age old tradition, where women built the public water works.

Fortunately, this well was sunk and obstructed for decades and recently cleaned, drained and restored by urban regeneration project.

The excavations went down over 200 feet to discover hand-carved treasures in Jodhpur’s renowned rosered sandstone.

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Fig. 3.52 Toorji Ka Jhalra stepwell

Fig. 3.53, 3.54, 3.55 Existing site surroundings

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3.4.3 Layout Plan

Fig. 3.56 Ground Floor Plan

1 2 3 4 5 6 7 8 9

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Entry Product Installation Linoleum Floor Finish Mirror Display Product Display Point of sale Spiral Staircase in Gold Stepwell Plinth CORTEN Steel Cladding

10 11 12 13

Stepwell Model in brass Consultation Table Skylight above Gold Profile on Glazing

Fig. 3.57 First Floor Plan

The store is designed in the entire space of the historic building wherein it is distributed on the ground floor and the first floor, connected by a spiral staircase.

The site is respected while positioning of elements and circulation of the space and is efficiently done. The displays and the elemets are balanced between the two floors.

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3.4.4 Signage Two kinds of signages are showcased in the building.

On the exteriors,overhanging flex banner signange (forming a chhajja) with the logo printed on the fascia is used. This kind of signage helps in retaining the aesthetics of the building.

The other type of signage is brass logo situated on the entrance wall at the eye level.

Flex Banner

Flex Banner Brass gold Signage

Fig. 3.58 Store Elevation

Fig. 3.59 and 3.60 Brass Signage

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Fig. 3.61 Painted logo on arch window

Fig. 3.62 Forest Essentials Jodhpur

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3.4.5 Facade

1 2 3 4 5 6

Entry Red Stone Cladding Product Display Window Gold profile on Glazing Stone Railings Mumpty Fig. 3.63 Store Elevation

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A. Facade Railing The northern facade is covered in railings of Corten steel on first floor and terrace. It is used due to its ageing property and color similarity as of the sandstone. The metal is chosen specifically to change appearance over time, enabling the building to adapt to the changing weather conditions and climate. A Brazilian flame creeper climbing the facade brings a pop of elegance to Fig. 3.64 Corten Steel Railing the metal scrim. In this way, it retrieves the character and aesthetics of the old building.

Stone jali (meaning fencing or netting) or stone lattice works date back to the Mughal period. Jalis are found in Fig. 3.65 Stone Jali almost all ancient Indian architecture. Its purpose is to give in to the wind, allow B. Entrance the free flow (circulation) of air, and bring in light.

It is traditionally done by stone carving, a sculpting technique.

The entrance to the store is from the multifoil arch, leveled above the ground floor. The entrance wall is adorned with the brass logo, welcoming table with product displays of new arrivals and fresh flowers.

The either side of the entrance is multifoil arch window display.

Fig. 3.66 Entrance

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C. Surface Finishes • Wall and Ceiling Finish The interior takes its inspiration from Art Deco and exaggerates color palette and proportions. The interiors are adorned in a pastel green color from the brand’s festive catalog.

Fig. 3.67 Ground Floor Interior

Rather than the standard khaki and gold, this store features an elegant blue and gold color scheme, paying tribute to the Blue City.

Fig. 3.68 Jodhpur- Blue City

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Fig. 3.69 and 3.70 Festive Product Packaging

• Flooring The entire floor of the store is designed in hand-cut and wax-polished linoleum, an adaptation of an antique mosaic-inspired flooring pattern, incorporating brass accents breaking the floor into modules.

Fig. 3.71 Linoleum Flooring with brass inlay

Fig. 3.72 Entrance of the store

Linoleum is a modern type comfort flooring which comprises of resilient material. This flooring provides a bouncy yet cushioning effect while walking.

D. Display System and Storage The displays are an integral part of the the retail spaces.

Different types of displays are observed in the store, each crafted beautifully and minimalistic in design.

The product display system is more than an apparition than a display mechanism. The exhibit becomes more interactive than a standard shelving system due to its ability to be physically maneuverable.

The mechanisms are gold-painted which stands out against a pastel green background, the wall finish color.

Types of displays in the store: • Shelve Display System • Window Display System • Table Display System

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Fig. 3.73 Ground Floor Plan indicating display areas

1 2 3 4

Product Installation Window Display Shelf Display Table Display Fig. 3.74 First Floor Plan indicating display areas

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Fig. 3.75 Ground Floor Display area

Fig. 3.76 Ground Floor display area

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1 2 3 4

Entrance Door Topical Display Arched Window Stone Display Fig. 3.77 Section

Shelve Display System The system has a minimalistic design approach. It is entirely made of metal and gold brass finishing. The metal shelf tops are bent underneath for inbuilt lighting for product focusing lights.

Underneath the shelving system, closed shelf cabinets are placed for storage of the stocked products. The tops of the cabinets are also utilized for the product displays.

Fig. 3.78 and 3.79 Shelf Display system

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Metal Brass finished rod

Metal weilding Joinery Metal shelf top

Light Fixture Detail The metal sheet is bent at an angle-hiding the light fixture Bevel Edge Detail

Storage Cabinet

Fig. 3.80 Shelf Display and storage detail

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Fig. 3.81 Table Display with mirror installation

Table Display System The circular table display is built from metal coated with brass finish. It is mainly a mirror display, focusing on the products. The mirror frames are significantly designed which merges with the store element design.

Fig. 3.82 Table Display

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Fig. 3.83 and 3.84 Table Display with mirror installation

Window Display System The arches and arched windows are utlized for various kinds of displays. These are entirely covered with glass and decorated with gold painting.

Fig. 3.85, 3.86 and 3.87 Window Display

E. Windows The arched windows are adapted as shop windows with an added glazing etched in a similar arch, which is achieved by the vernacular gold painting technique of Jodhpur. The arches inscribed as gold paintings on glass complement the existing arches’ form. The use of glass for arched windows and articulation is also another means of blending modern and traditional architecture. Even though the material is contemporary, the painter has granted it an adaptive importance. The branding and signage on the show windows make use of the age-old vernacular gold painting techniques of walled city of Jodhpur.

Fig. 3.88, 3.89 and 3.90 Gold paintings on windows

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This painting technique gained prominence during the mediaeval era. Gold. They are differentiated by bold lines, precise detailing, the use of fine brush strokes, and the use of gold colors, which effectively draw the attention of every viewer

F. Lights and Fixtures The entire store has warm lighting with track lights and hanging light fixtures.

The handcrafted technical track lights sculpted in brass, with a retro and vintage look, are a relic of a bygone era. The glass hanging lights are beautifully crafted with intricate design.

Fig. 3.91 Vintage Brass Tracklight

Fig. 3.92 Vintage Hanging Light

E. Furniture The furnitures are a modern twist on Art-Deco kitsch, using velvet and suedes adding a plush feel to the space. The structural frameworks of the furniture are extravagantly crafted from brass and gold.

Fig. 3.93 Consultation Table and Chair

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Fig. 3.94 Bench

Point of Sale Fig. 3.95 Ground Floor Furniture Plan

Consultation Table

Fig. 3.96 First Floor Furniture Plan

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G. Elements Staircase: The dramatic brass metal spiral staircase leads to the upper floor of the retail outlet.

Spiral staircase were often used in historic buildings, due to compact spaces.

Mumpty Stone Railing

Working Model Stepwell Topical Display

Product Display Fig. 3.97 Section

Fig. 3.98 and 3.99 Staircase Detail

The staircase is very elegant and attractive element of the store. It is designed efficiently with the least details and crafted in metal with brass finish over it. Every part is connected by weilding method.

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Model Installation: The wooden installation of the iconic heritage stepwell of Jodhpur has been placed in the center of the space.

It adds the value of heritage culture of the city and enhances the richness of the store with its presence.

Fig. 3.100, 3.101 and 3.102 Wooden Stepwell Insallation

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Mirror Element: The mirror is placed on the either side of the store on the plain wall. It enhances the store with reflection of the lights and makes the space appear enormous.

Fig. 3.103 Ground Floor Area

Artworks: These artworks are inspired from nature which associates with products and their origin.

Fig. 3.104 Product Packaging Installation

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Fig. 3.105 and 3.106 Paintings Display

3.4.6 Observations

Mall & High Street Store

Historical Building

These stores follow loopstore layout with the store walls surrounded with displays and cash desk stationed in the centre. In the Juhu store, the plan reflects a mirror geometry.

The layout is distributed on the two floors of the building with the balance of elements. Each floor follows a loop store layout and the central space is designated to the mirror display and model installation respectively.

The signages are located on the top side of the facade with brass backlit logo on plain sufaces.

The flex banner signage is used in the exterior of the building. The purpose to use this kind of signage is to retain the aesthetics of the heritage site. Moreover, it is placed on the first floor and ground floor.

The brass logo is placed at eyelevel on the entrance wall of the store.

Signage

Layout

The comparitive analysis of the above case studies to understand how differently the brands reflect their identity in historic buildings with respect to various aspects.

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Facade Surface Finishes 138

Mall & High Street Store

Historical Building

The stores have minimal and elegant store fronts. The elements contributing in the facade are: • Signage • Window display • Light box • Display Tables • Artwork

The facade is the architecture of the building. The intention is to avoid any damage to the existing building.

The arched window and arches are adaptively reused as display windows.

The stores inherits the core brand identity through the color scheme and materials. The finishes and the wall cladding are a common aspect which complements with the language of furniture.

The space represents Art-Deco in a contemporary modern by exaggerating colour schemes and proportions. The design scheme reintroduces brass and gold which are inherent to Art-Deco and associated with the traditional interior finishes of Jodhpur.The palatte consists of pastel green- a color from festive range catalogue. The ceiling and wall are monotonously painted in same color while the flooring is done in mosaic geometric pattern with the use of modern techniques.

Historical Building

There are three types of displays: Shelf display, table display and window display. The wooden cabinetshelf displays with different finishes are spread throughout and enclosed with walls.

Similarly, closed wooden storage cabinets are designed at the bottom of display cases.

There are three types of displays: Shelf display, table display and window display. They have minimalistic and simple design approach with brass finishes.

The arched windows and arches functions for visual merchandizing.

The purpose of this of approach aims to unhide the architecture while adaptively reusing it.

Visual Merchandizing

Mall & High Street Store

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Furniture Light Fixtures 140

Mall & High Street Store

Historical Building

Traditional types of furniture are placed in the central space of the store. Banquet seatings are designed with wooden structures and covered with classic upholstery.

The cash desks are antique and dark polished.

The furniture is simple, elegant and minimal. The seatings are cushioned in velvet and and metal structure is brass finished. The tables have either metal or marble top surfaces with metal brass finished structures.

The stores have warm lighting and downlight fixtures fixed in the ceiling. The central spaces are emphasized by the placement of the chandelier.

The store has warm lighting with handcrafted antique brass and glass light lamps with an amalgamation of modern track light system. This method of lighting allows minimal occupying of ceiling space.

Historical Building

Several paintings are framed for the artworks which are figurative, represent the Indian identity and narrate a story.

The artworks are displayed through the installation of product packagings and paintings inspired from nature and its elements. It significantly depicts the origin of the products and its purity.

Material and Color Palatte

Artwork

Mall & High Street Store

Beige Color

Dark Brown Finish on wood

In Cream Duco Finish on wood

Pastel Green Color

Gold Color

Linoleum

Glass

Mirror

Wood

Glass

Mirror

Marble

Tiles

Brass

Marble

Brass

Metal

Velvet

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04

Conclusion

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This research analyzed how retail brands reflect their identity while adapting historic spaces as retail spaces. Understanding the value of heritage buildings and adaptive reuse approaches is critical in the evergrowing retail industry. In the space-building elements of the retail industry, brand image and touchpoints are crucially significant. In the detailed retail design, several criteria describe the spaces and elements: brand identity, brand image, and strategy. In addition, these elements convey the customer experience.

The first chapter of the thesis gives an understanding of the role of retail design along with the importance of brands and branding. The study of brand identity reflected in the functioning of retail space and thus, it is a governing factor. The strategies impact in various ways, as it creates an image of the brand in customer’s mind. Moreover, the brand environment of the retail space is responsible to create a unique experience for the customers.

The objective purpose is to protect, preserve and identify the conceptual and heritage significance of the building with adaptation and accommodate the new function to the building. Diversifying the lifespan of a building from “cradle to grave (CTG)” to “cradle to cradle (CTC)” is strengthened by preserving all or the maximum fundamental elements of the building and as many other elements as feasible. Adaptive Reuse enables the modernization and reconstruction of historic architecture. Additionally, the adopted measures address the purpose of brand and consumers, while still being compatible with the existing structure.

The case studies have different approaches for branded environments in heritage buildings. The brands narrate stories by involving organizations, culture, influencers, and customers which builds their image and value.

Retail brands consider historic buildings as an asset and a way to construct a specific brand identity rather than focusing on its limitations.

Creation of a unique experience is established in a brand like Good Earth with its presence already there in multiple cities. Being situated in a historical building can make the offerings more ‘authentic’ and evoke the 144

customer’s emotional experience. As seen in the case study of Good Earth, the brand takes the opportunity to create a concept boutique store. The site provides the advantage of crafting experiences through the rooms.

Retail brands around the world now have been increasing their focus on sustainability over the years.

The responsible brands (such as Forest Essentials, Good Earth and many more) are adaptively reusing the historical spaces and creating a new identity of the brand. Through this approach, the brands outshine and create a strong presence in the retail world.

The reuse of historical buildings for retail advances the viability of historic centers and stimulates urban regeneration as well. In the case of Mehrangarh, the store revitalizes its business through the purpose of Adaptive reuse. For retail reusability in historic structures, the correlation between the adopted interior design of the brand and the existing historic architecture is fundamental. The adaptive reuse approach relies on the building’s ‘cultural identity.

The redesigned building is considered as a “comprehensive framework” for the brand. Through the studies, it is identified that every location is unique and therefore the framework cannot be repeated owing to the specific attributes established with space and time.

History reveals the perceptions, understandings, and experiences which define characteristics of the culture and contribute to the veracity of places. Therefore, it is key and critical to understanding the site environment in such a way that design specific assertions are revealed as inspiration for alteration.

However, the mall and high street stores retain the brand identity and the continuity as factors remain constant. With comparitive analysis of brand chain stores and historical space, excluding the store layout and VM, all the factors are inconsistent. The design approach in historical space is aligned with the building type, location context and branding strategy.

The brand reestablishes the historic elements by the new functions and build an identity. It also attempts to connect with the context emerging from the roots.

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For instance, organizing a display installation is also inspired from the stepwell, the inclusion of stepwell model in the interiors and gold painting techniques on the glass. The traditional practices are brought into use.

Store Type

Signage

Facade

Layout

Mall and Highstreet Store

Backlit brass signage

Signage, Window Display, Lightbox, Diplay Table, Artwork

Loop store layout

Historical Space

Brass logo and flex banner signage

Signage and Artwork

Loop store layout

VM

Surface Finishes

Furniture

Shelf display, table diplay and window display

-Color Palette: Traditional and cream and dark wooden brown -Ceiling: Reflected surface -Flooring: Marble

Shelf display, table diplay and window display

-Color Palette: Simple metal pastel green and furniture gold -Ceiling: Painted ceiling -Flooring: Linoleum

Light Fixtures

Material Palette

Artwork

Ceiling downlight fixtures

Wood, glass, mirror, marble, brass, fabric

Canvas prints

Tracklight

Linoleum, glass, mirror, marble, brass, velvet

-Paintings -Package Installation -Wooden Site Installation

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Reflection of Art Deco characteristics in space 1. Strong use of geometric patterns, mainly triangles 2. Mosaic Tiles

Flooring 3. Use of lines

Display System 4. Bold color palette (use of one or two hues)

Finishes 5. Hard edges and rectangular shapes

Display System 147

6. Stylized Florals

Light Fixture The Jodhpur store creates a unique identity from the chain stores of the brand. It establishes the concept of Art Deco and reflects its characteristics in the spatial design. By this conceptual approach, the store deviates from the brand’s identity and thus the design elements are inconcistent and store specific.

Approach Advantages Brand

•Through adaptive reuse of historic spaces, it allows brand to push their boundaries for creating a unique experience.

• They promote the cultural aspects of the surroundings which build a narrative and strengthen the brand identity.

• They set a distinct position in the retail market by taking this opportunity.

Adaptive Reuse

• It enhances the significance of the building by conserving and preserving the site.

• It attracts and encourages the tourism.

Location/ Context

• Contributes in the development of Urban regeneration program.

• It promotes the local crafts and locally sourced materials. It also benefits the craftspeople and artisans.

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This research can be concluded that the historical spaces allow the brands to adaptive reuse and establish an importance by giving a new identity. Additionally, the brands took the initiative to derive a new concept and deliver a unique experience. The historical space transforms completely reestablishing a new purpose.

The established brands outstand and afford to be experimental in creating varied spatial experiences through adaptively reusing the historical spaces.

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Bibliography Websites: Architecure Discipline | Project. (2019a). Www.Architecturediscipline.Com. architecturediscipline.com/project/forest-essentials

https://www.

design/ What is the Brand Identity Prism?: Nugno Blog %. (2019, December 16). Retrieved from https://bynugno.com/blog/what-is-the-brandidentity-Francis, A. (2018, January 25). Elements of Retail Store Interior Design. Retrieved from https://www.mbaknol.com/retail-management/ elements-of-retail-storeinterior Green Goose Design. (n.d.). Forest Essentials. Retrieved May 11, 2021, from https://www. greengoosedesign.com/contact.php http://www. I ivem int.com/ Money /01 TUYYSxE Bh U9m Fvd Kk3 NO/Heritage-bu i Id i ng s-a regetti https://cdscandoit.com/your-brand-as-it-relates-to-the-retail-environment/ ng-a-facel ift-for-modernday-use.html Pisano, F. A. B. I. O. (2017, July 12). Archetypes in branding: How to build a consistent archetypebased brand strategy | Thinking | Landor. Retrieved April 18, 2019, from https://landor.com/thinking/ archetypes-in-branding-how-to-build-a-consistent-archetype-based-brand-strategy prism/ Sheehan, A. (2017, February 15). 8 Ways to Incorporate Brand Identity Into Your Retail Store.

Retrieved April 23, 2019, from https://www.shopify.com/retail/8- ways-to-bring-brand-identityto-life-in-your-retail-store Studio Lotus. (n.d.). Mehrangarh Museum Shop. Retrieved May 11, 2021, from https://studiolotus.in/ showcase/mehrangarh-museum-shop/65 Studio PKA. (n.d.). Tianu the revival project. Architectandinteriorsindia.Com. Retrieved May 10, 2021, from https://www.architectandinteriorsindia.com/projects/10843-tianu-the-revival-project-bystudio-pka The Impact Of Culture On Branding. (2016, August 29). Retrieved from https:// Websites:www.brandingstrategyinsider.com/the-impact-of-culture-onbranding/#Xp4NG8gzZPZ

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Unpublished Thesis: Aastha W.(2014). Adaptive reuse of heritage sites into neemrana non hotels-the design strategy.

(Undergraduate thesis). Cept University, Ahmedabad.

Ghatwai, V.(2020). Consistency in Inconsistency: design approaches to branded environments.

(Undergraduate thesis). Cept University, Ahmedabad.

Panchal, K. (2019). Reflection of brand personality in retail store environments. (Undergraduate thesis). Cept University, Ahmedabad.

Soni, N. (2018). Interface : an inquiry into factors influencing design of retail store facades with context to it’s consumer positioning. (Undergraduate thesis). Cept University, Ahmedabad.

List of Figures Chapter 01 Fig 1.1 to Fig 1.2 Fig 1.3 Fig 1.4 Fig 1.5 Fig 1.6 Fig 1.7

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Illustration by author https://in.pinterest.com/pin/43417583895141421/ https://in.pinterest.com/pin/40743571599298421/ https://www.unibox.co.uk/news-inspiration/7-Types-Of-WindowDisplay http://www.imcorp.jp/jmss.asp?iid=28523159&cid=8 https://www.dreamstime.com/hugo-boss-store-displays-cornermilan-italy-storefront-entrance-german-luxury-fashion-housecorso-giacomo-image160930206

Fig 1.8 Fig 1.9 to Fig 1.18 Fig 1.19 Fig 1.20 Fig 1.21 Fig 1.22 Fig 1.23 Fig 1.24 Fig1.25 Fig 1.26

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https://in.pinterest.com/pin/738379301376168708/ Illustration by author https://in.pinterest.com/pin/393924298655271551/ https://in.pinterest.com/pin/477803841710018203/ https://in.pinterest.com/pin/362750944960721111/ http://www.imcorp.jp/jmss.asp?iid=28523159&cid=8 https://in.pinterest.com/pin/591308626054584147/ https://in.pinterest.com/pin/373728469054836711/ https://www.popon.net/Point-of-PurchaseDisplayGalleryWinchester-Ammunition-AA-End-Cap-Display.asp https://in.pinterest.com/pin/226165212527184023/

Fig 1.27

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https://si0.twimg.com/profile_images/1891768437/logo.jpg

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Fig1.28 to Fig1.29

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https://issuu.com/gigili/docs/puma-brandanalys is 1228974531212180-1

Fig 1.30 to Fig 1.31 Fig1.32

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Illustration by author https://issuu.com/gigili/docs/puma-brandanalysis-1228974531212180-1

Fig 1.33 Fig 1.34

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https://www.onlinestudien.org/levi%27s-store https://misfitcreative.com/work/hm-stuido/

Chapter 02 Fig 2.6 to Fig 2.7 Fig 2.8 to Fig 2.13 Fig 2.14 Fig 2.15 Fig 2.16 Fig 2.17 to Fig 2.18 Fig 2.19 to Fig 2.20 Fig 2.21 Fig 2.22 to Fig 2.26 Fig 2.27 to Fig 2.31 Fig 2.32 to Fig 2.33 Fig 2.34 to Fig 2.39 Fig 2.40 Fig 2.41 Fig 2.42 Fig 2.43 to Fig 2.44 Fig 2.45 to Fig 2.46 Fig 2.47 Fig 2.48 to Fig 2.52 Fig 2.53 to Fig 2.54 Fig 2.55 to Fig 2.62 Fig 2.63 Fig2.64 Fig 2.1 to Fig 2.5

Illustration by author https://rooshadshroff.com/spaces/good-earth/Firm Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/Firm Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://rooshadshroff.com/spaces/good-earth/ Illustration by author https://www.google.com/ul?sa=i&url=https%3A%2F%2Ftimesofindia. indiatimes.com%2Ftravel%2Fdestinations%2Fdiscoveringjodhpur24-hours-in-the-blue-city%2Fas65888217.

Fig 2.65 to Fig 2.68

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https://studiolotus.in/showcase/mehrangarh-museum-shop/65

Chapter 03 Fig 3.1

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https://www.darwinthenandnow.com/archives/5217/evolutionarytree-of-life/

Fig3.2 Fig3.3 Fig 3.4 to Fig 3.5 Fig 3.6 Fig 3.7 Fig 3.8 Fig 3.9 Fig 3.10

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https://thedieline.com/blog/2013/9/4/forest-essentials.html https://thedieline.com/blog/2013/9/4/forest-essentials.html Illustration by author https://thedieline.com/blog/2013/9/4/forest-essentials.html? https://thedieline.com/blog/2013/9/4/forest-essentials.html https://thedieline.com/blog/2013/9/4/forest-essentials.html https://www.forestessentialsindia.com/morning-ritual-gift-box.html https://www.forestessentialsindia.com/indian-nightingale-bodycare-honey-vanilla-selection.html

Fig 3.11

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https://www.forestessentialsindia.com/group-of-dancers-bodycare-selection.html

Fig 3.12 Fig3.13 Fig 3.14 Fig 3.15 to Fig 3.16 Fig3.17 Fig 3.18 Fig 3.19 Fig 3.20 to Fig 3.26 Fig 3.27

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Illustration by author https://thedieline.com/blog/2013/9/4/forest-essentials.html https://thedieline.com/blog/2013/9/4/forest-essentials.html?

Illustration by author https://www.google.com/maps/ Illustration by author Data provided by Studio Meta Illustration by author https://www.google.com/ url?sa=i&url=https%3A%2F%2Fwww. lulumall.in%2Fkochi%2F&psig=AOvVaw1ZV_IcIastLt9X_

Fig 3.28 Fig 3.29 Fig 3.30 to Fig 3.36 Fig 3.37 Fig 3.21 to Fig 3.49 Fig 3.50 Fig 3.51 Fig 3.52

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Illustration by author Data provided by Studio Meta Illustration by author Studio gave Data provided by Studio Meta Provided by Architecture Discipline Illustration by author https://img.locationscout.net/images/2020-04/toorji-ka-jhalraindia_l.jpeg

Fig 3.53 to Fig 3.55 Fig 3.56 to Fig 3.58 Fig 3.54 to Fig 3.62 Fig 3.63 to Fig 3.64 Fig 3.65

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Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline Illustration by author https://5.imimg.com/data5/VN/SS/MY-59857112/pink-sand-stonejali-500x500.jpg

Fig 3.66 to Fig 3.67

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Provided by Architecture Discipline

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Fig 3.69 to Fig 3.72

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https://previews.123rf.com/images/pomiti/pomiti1705/ pomiti170500037/78249054-jodhpur-blue-city-photos-rajasthanindia.

Fig 3.73 to Fig 3.74 Fig 3.75 to Fig 3.76 Fig 3.77 Fig 3.78 to Fig 3.79 Fig 3.81 to Fig 3.99 Fig 3.100 to Fig 3.107

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Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline Illustration by author Provided by Architecture Discipline

Review Feedback Review I: 19.01.2021 • Understand process through flowcharts, diagrams or pictures to explain process/methodology/ relations to make the study more informative.

• Study brands in detail and select one established brand for better comparison in the primary case study.

• Study the adaptive reuse concept thoroughly while doing the case studies.

• Understand Interior elements of the brand making in spatial design and what language is being followed in different contexts.

• Probable case studies idea: -Studying global brand-ZARA as a second case study and keep primary case study as mixed fashion in adaptively reused spaces.

-Comparison of store design changing from a mall setting to that of a store designed in historical spaces.

-Levis Store in Fort Area, Mumbai and compare with a mall setting store.

-L’Occitane en Provence- A cosmetic Brand, Fort Mumbai -Fab India, for the Indian context.

• Suggestion: Make sure the demographic aspect of the case studies remains constant. It will help in concluding.

Review II: 02.03.2021 • For Secondary Case study of brand ZARA, compare the flagship stores of India and Europe.

• The selection of primary case studies is appropriate and in context.

• Study each project in detail for a better understanding and clarity.

Review III: 27.04.2021 • What will be the outcome of analysis?

• What are the conclusion based parameters?

• List down the parameters nd form a comparitive table.

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Faculty of Design CEPT University poojajpanchal@gmail.com 156