Retail Environment

E

YE

WEAR G L A SS E S COM M ERCIAL E N V I R O N M E N TS PRECEDENTS & CASE STUDY

N I C O L E W O N G N I C H O L A C H A N C O L L E E N L E E V I V I E N L I I R N 3 0 0 OCTOBER 30 2012 JANA MACALIK

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T A B L E O F CO N T E N T S INTRODUCTION

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RETAILoSECTOR

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FOCUSEDoCATEGORY

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SITEoANALYSIS

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DESIGNoCONSIDERATIONS

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PRECEDENToDESIGNoSOLUTIONS

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CONCLUSION

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CASEoSTUDY:oANALYSIS

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CASEoSTUDY:oDESIGNoSOLUTIONS

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ENDoNOTES

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APPENDIX

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INTRODUCTION a. the issues b. goals and objectives

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a.

the issues

The major challenge faced in the retail industry to becoming successful, is distinguishing oneself in the competitive retail industry through branding and creating a unique shopping experience. Companies are required to adapt to the rapidly changing fashion trend and consumer demands; however, this is a struggle for specialized retailers such as optical stores that specialize in only vintage style eyewear. Therefore, such companies heavily rely on marketing and advertising to create a ‘hook’ for new and current customers from a business standpoint as well as store design standpoint. This precedent research and case study focuses on local optical stores with respect to analyzing retail sector industry as the design considerations of the physical store.

b.

goals and objectives

The goal of this project is to develop and understanding of retail space planning, hospitality and entertainment public spaces, and how businesses strategize to create a shopping experience that can influence customers to consume their products. A conclusion will be formed on what makes the space successful with respect to design and business management. The objective is to ultimately define, articulate and translate brands that communicate and relate with customers. This precedent study and case study for the studied retail environment will be a preliminary for a pre-design, and crucial for the next phase of the design process to conceptualize and re-design the space.

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RETAIL SECTOR a. description b. history c. trends d. local, regional, global

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a.

description

Optical retailers not only sell eyeglass frames, but they also sell lenses and service. Optical stores are responsible for matching the lenses to the customers’ prescription, grinding lenses to custom fit the frames, and fulfilling any extra specifications such as tinting the lenses. They also offer numerous types of lenses, such as single vision, progressive, and transition lenses. Some optical stores also sell contact lenses. Since the lenses must be custom made to customers’ prescriptions and specifications, optical stores often communicate directly with the manufacturer instead of a wholesaler, unlike many other retail businesses. Different from other forms of retailers, optical stores provide lifetime services to customers. This includes free nose pad changing, frame adjustments, and lens cleaning at anytime.

b.

history

In Greece, it was believed that Prometheus stole fire from Zeus and gave it to humans. During 5th century B.C., a theory was formed; Aphrodite lit a fire in human eyes, enabling sight. The first known lens existed in 700 B.C. in Assyria, and is displayed in the British Museum. The first optics script known was written by Mo Zi in 5th century B.C. in China that included basic optical knowledge, definition and creation of vision, transmission of light in a straight line, pinhole imaging, and the comparison of imaging in plane, convex, and concave reflections. The first magnifying glass known was used in the 8th century BC in Egypt.

The earliest glasses were made of lenses cut into circles and wired together at the top that balanced on the nose. Since they would fall off with any head movements, it was popular to mount the glasses onto a long handle so the user may hold it in place during use. The first pair of eyeglasses recorded was found in Europe 1267, in a book called Opus Majus, a scientific encyclopedia written by Roger Bacon in England. Although he mentions correcting vision defects with lenses, he keeps his knowledge quiet; as such theories were believed to be black magic at the time. However, by mid-1300s, eyeglasses were popular among churchmen as they were the only people who could read or write. It wasn’t until the 15th century when the printing press was invented, that eyeglasses became more publicly accepted.

The first glasses were made for those who were farsighted; nearsighted lenses weren’t invented for another 300 years.

The earliest frames were made of horn, tortoise shell, leather, or wood. Brass was not used till later. Gold and silver were also used for the wealthy. There were many attempts at designing the frames, but none gained popularity until Edward Scarlett invented eyeglasses with extra sidepieces to fit the side of the head about 4 inches, which were extended to fit behind the ears.

The next big leap in the optical world was in 1784, when Benjamin Franklin invented the bifocal lenses. It uses farsighted lenses on the top half of glasses, and nearsighted lenses on the bottom half. Leonardo da Vinci first introduced contact lenses in an illustration in 1508. In the late 1880s, at least three people (Adolph Fick, Eugene Kalt, and August Muller) were believed to have invented the first contact lenses separately that was all made of glass and covering the entire eye.

William Feinbloom invented the first pair of plastic lenses in 1939 for the US Company, Rohm and Haas Co. Kevin Tuohy designed the first pair of corneal contact lenses in 1948. Due to this invention, contact lens sales increased by four fold.

In modern days, eyeglasses are made to customizable specifications. They are not only used to correct vision, but are often worn as a fashion accessory. For those that do not like glasses, there is the option of contact lenses. In recent years, the LASIK (Laser-Assisted in SItu Keratomileusis) surgery was developed. With a laser and a knife, it changes the eye’s cornea shape, and is only available to those over 18 years of age.

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c. trends

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3 45

black way f arers

The first in line is the “new geek style.� In 2011, black wayfarers began to gain popularity, but in 2012, the style has evolved into smaller designs and rich, earthy colours.

ke y h ol e n o s e br i d ge

Thick, round glasses with a keyhole nose bridge are beginning to compete with the wayfarer design.

c at - e ye

This femenine shape offers a classic retro look from the 60’s.

tr ansp arent

This pair allows personal style to shine through because the frames of transparent. These funky colours will not be too domineering.

c ut - out on templ e s

Using cut-outs on the temples of the glasses are becoming increasingly popular, and users feel like they are wearing a piece of art as apposed to just a regular pair of glasses.

d. local, regional, global Deviating from the corporate driven and heavily branded optical stores, such as Hakim Optical and Sunglasses Hut, local eyewear boutiques possess a quaint charisma in terms of their products and store designs. For example, the eyewear store, Spectacle, which is found in Toronto’s Distillery District, specializes in contemporary eyewear. These specialized optical stores exude a sophisticated and professional vibe.

Regional stores often begin as a local business, but expand by opening chain stores once they have successfully established their first location. They often rely on returning customers and creating a good reputation. Global stores, who are corporate run, depend on the company`s good reputation to attract investors and shareholders. Furthermore, expansions of the company with franchises are often sold to individuals internationally.

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FOCUSED CATEGORY optical retailers a. competition b. category leaders c. successes d. failures e. target market/profile

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a. competition (within specified category) Some of the top competitors selling vintage-style eyewear are the following boutique: Spectacle, Gafas, Aeroplane, Opticianado and Face Furniture Optical. These specialty stores compete against one another in terms of selection (quantity and quality, display), customer service (greeting, consultation, services) and interest in store (design, layers of interest).

SELECTION Over 1300 models Hand-crafted frames Limited and rare handpicked frames Half of selection hidden inside drawers No special sections for specific eyewear

CUSTOMER SERVICE Greeted upon entrance Relaxed approach Mild insight in decision making Asked more than, “Need help?”

In store eye-exam Glasses repair/adjustments

6/10 Vintage, contemporary and celebrity eyewear sections Majority of selection on open display (very fragile display stands) Hidden selection is still shown through glass drawers

Greet upon entrance Relaxed approach, Limited insight in decision Stopped after “Need help?”

As unexpected customers, we were very unwelcomed No consultation

2 rooms: back room contains display of vintage and celebrity eyewear Full-wood store-front Exposed brick with mannequin heads, interesting furniture

5/10

6/10

8/10 Industrial loft feel Chandeliers, vintage style furniture

0/10

9/10

Greeted upon entrance Relaxed approach Information given upon request In-store eye-exams, edging lab and contact lens fitting Live music every month

Cozy environment created by vintage furniture Interesting ceiling design Different interactive stations within the room (work/eye-test, rest/reading/music)

7/10

10/10

10/10

GRADE

3/10

6/10

3/10 Unique, one-of-a-kind selection Half of selection hidden inside drawers Organized shelving

Unique reclaimed wood ceiling design No spectacular design feature in the store Store front designed poorly, no interest or relevance to store

7/10

8/10 Extremely limited selection All selection hidden in glass display cases

INTEREST IN STORE

Minimal selection Vintage section Some selection hidden inside drawers

Greet upon entrance Relaxed approach, informative comments, attentive to our actions and requests Lenses fitting available

Bland store design Very dim, no shelf lighting for eyewear Minimal mirrors

3/10

9/10

0/10

3/10

9/10

4/10

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b. category leaders The category leader of eyewear boutiques is Opticianado, based on its outstanding selection of unique, one-of-a-kind frames, great customer service and well-designed store interior. Although some of its selection is hidden in drawers, the frames always surprise the customer and therefore they are willing to take time searching through the entire selection. The frames one finds in Opticianado are unlike any of the frames found in Spectacle, Gafas or Face Furniture. The shelving is clean and simple and displays the frames in a very orderly manner.

Around the room are quirky stations that provide different services. They have a music and reading corner where old, classical books are piled messily next to an old music player with large records. Seating is provided in that station so while their friends tour the frames, their less-interested friends may still find something else to interest themselves and have a good time. Every month Opticianado features a live band inside their store to play for their customers. The atmosphere is very light and carefree. The vintage furniture scattered around the store creates a fun and uplifting mood to the space. The old piano, steel floor lamp and chairs and

c. success Good customer service, quaint products, and marketing strategies have brought success to the flagship stores of vintage style eyewear. To begin, the full control customers have over their purchases and nonaggressive sales associates helps establish customer satisfaction, since customers feel that their purchase was made solely on their decision. Another factor leading to the store`s success is the emphasis on good customer service and the well knowledgeable and passionate sales associates. Other services available such as one on one lens consultation, eye exams, and contact lens help increase selling potential as they act as a second revenue for the stores.

To attract and gain new customers, marketing strategies such as partaking in design festivals such as the Junction Crawl, and holding sales promotions has helped gain these vintage eyewear boutiques exposures to the public. Some examples are ‘back to school look’ sales, and having a monthly DJ playing music at the store. Additional exposure is achieved through media publishing which includes paper and web. Articles such as the Toronto Star and online blogs have brought the public’s attention to the existence of such stores. Also, participating in Toronto’s design events has helped some of these stores gain exposure. Technology has become a common language and the use of social networks have increased over the years, making social media one of the main most effective advertising tools used to connect with customers; examples include Facebook and Twitter. This allows current and new customers to be updated on for special promotions, news, and events with the store.

On a production level, the companies have developed a good partnership with the manufacturers byclosely working with the designers over many years and are now able to receive a good price for the products being sold. Through the many years of operation and good customer service, these boutique vintage eyewear stores have successfully branded themselves as a ‘one of a kind’ and reliable on high quality vintage eyewear.

As profits and turnovers are key to the stores’ success, the shopping experience is just as important, if not more with these small boutiques. In addition to the quaint eyewear products, the stores itself speak design and attract customers wanting to have an enhanced shopping experience different from a mall environment. To conclude, these Toronto flagship stores for luxury eyewear have managed to establish a reputable name for their kind service, gained exposure through published media and participation in design projects, as well as its unique products purchases leaving new and returning customers satisfied.

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d. failures Despite the success of the flagship stores selling vintage style eyewear, improvements such as store locations can help to increase the turnover rate. With the exception of the store Spectacle, the costliness of expansion may be one of the factors for the limited store locations. To expand on the impact of having multiple branches, with all other variables eliminated except for branch numbers, Spectacle has the advantage of providing convenience to its customers as their stores are located in Toronto’s fashion and design district, the Distillery District, Queen Street, as well as in a residential area on Yonge Street. As opposed to Gafas or Opticianado who only have one store, they have a smaller selling potential because they have less exposure and may discourage potential customers that are interested but not willing to commute.

Other business failures these flagships have are the aggressiveness in their sales. Although it contrasts to what was stated in the preceding paragraph, where customers enjoyed the relaxed environment, from a business stand point, some aggressiveness could help increase sales, even if it is giving a business card or pamphlet to customers leaving. Overall, the success of the current business strategies practised has brought back the style of vintage eyewear.

e. target market/profile These vintage eyewear stores target the trendy individuals with higher disposable income and who have an interest in fashion and design. Their merchandises tend to be higher in price because of their quality and one-of-a kind design. Many of these specialized eyewear stores hand pick their products, which adds more value to the product. Also, there is no emphasis on a specific gender; both male and female are evenly targeted as many of the products are unisex.

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SITE ANALYSIS a. location of store typologies b. store considerations c. demographics of typical sites

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a.

location of store typologies

The geographic location of a store is imperative to a company’s start-up success, as it determines the amount of traffic flow, types of competition, and ultimately, the sales potential. This precedent study will compare the site location advantages and disadvantages of malls versus street front stores. Malls have consistently been a popular destination for shopping. Many enjoy shopping in this environment as a result of the wide selection of inventory and the weather protection provided by the building; on the contrary, the individuality of the boutique and originality of products bring character to the shopping vicinity as well as the outdoor exposure creates an uplifting a sense of liberity.

There is a higher degree of dominance and pace in malls due to the sales driven model and high turnover rate. Stores are typically larger in square footage and thus able to carry a greater inventory selection; however, one may prefer the shopping experience with street front shopping as it can be more relaxing when one meanders the open streets while shopping. The fashion districts are suitable locations for street front boutiques because of the target market for trendy individuals . One of the main elements that distinguishes street front shopping is the enriched culture created by the originality between stores. The three main areas for Toronto’s street front shopping is in the fashion district - the Distillery District, the Junction, and Queens Street. Despite the different culture each shopping location has, one of the main disadvantages for street front locations is that it is greatly affected by the weather. Many consumers are discouraged to shop outside and turn to the mall on such days where they can shop without getting wet and or stay out of the cold. Malls are able to provide shelter with respect to shopping as well as with underground parking which street front stores cannot provide.

This is also a common issue faced as it often discourages potential customers because of their inconvenience. As demonstrated in Toronto’s downtown core, parking is difficult to come by. Many of the street front shopping districts such as Queen Street and the Junction who do not have parking lots like malls do; often customers end up taking the public transit, yet this does not resolve the issue of inconvenient access to the stores.

Stores located in malls have the advantage of greater sales potential because of the high traffic flow, and the ability to provide shelter from undesired weather. Many mall stores are commonly corporate flagship stores who are able to provide a wide selection of merchandise. On the contrary, street front stores, are typically boutiques. Their originality in products and store design enhances the shopping experience as each store has its own charisma.

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b. site considerations All the localOne of the main elements that distinguishes street front shopping is the enriched culture created by the originality between stores. The three main areas for Toronto’s street front shopping is in the fashion district - the Distillery District, the Junction, and Queens Street. All the local optical stores are in urban areas, downtown in Toronto’s different neighbourhoods, holding their services in the art, design, fashion, and entertainment districts.

Queen Street West S P E C TA C L E G A FA S

Spectacle and Gafas are located on Queen Street West, the district of art, design, with creative business and attractions of design culture. It is more commercialized and is located in the city centre. The relaxed queen west has a boutique vibe and retail strip. The stores get more interesting and eclectic past the west of Spadina.

King West Village AEROPLANE

Located around Bathurst and Adelaide, the neighbourhood is within walking distance of the Toronto waterfront trail. The Arts are also represented here with numerous galleries and studios nearby and live theatre and musical performances on King Street. King West Village is especially popular with young urban professionalswho desire an urban lifestyle close to their downtown offices and within walking distance of Toronto’s entertainment district.

It includes commercial offices that hold services fit for mega-stars to premiere screenings at their nearby TIFF lightbox theatre.

Cabbage Town FA C E F U R N I T U R E Face Furniture is located in Cabbage Town. Nestled close to two highways, it’s ideal for out-of-towners, although parking (as with any downtown area) is at a premium. What use to be a poor neighbourhood, is now a very homely area. Buildings are restored Victorian homes, friendly neighbourhood pubs and one of the best cafes in the city are located in here.

The Junction OPTICIANAD O The Junction is locatedwest midtown on Keele and Bloor Street away from the tall commercial buildings of the downtown core. It holds Opticiando, and many industrialist, vintage boutiques. It is historically tied to the railroad constructin as a manufactruing community that rose quickly during the late 19th century. A Rapid gentrification happened: new chic restaurants and bars have opened up along Dundas Street. Surplus vacated industrial space and warehouse loft conversion possibilities left low rent, attracting young artists. Opticiando is a result of this gentrification and very much involved with the rich heritage and lively cultural community.

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c. demographics of typical sites The demographics of a typical optical store has a connotation of vision impairment. In Canada during 2000-2001, there were an estimated number of 12,331,000 people age 20 years and older with corrected vision loss (corrected through the use of glasses or contacts), and another 377,000 people with uncorrected vision loss. In total, 12,708,000 of the Canadian population live with vision loss.

This number greatly over weighs the 9,694,000 people with no vision problems.

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DESIGN CONSIDERATIONS a. special programming b. people and adjacencies c. colour and material d. lighting e. acoustics f. human factors g, environmental issues h. universal access i. wayfinding

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a.

special programming

By having a store designated to selling only eyewear, it restricts the company to a smaller target market in comparison to a superstore, such as the Hudson’s Bay Company (HBC), who sells fashion clothing, shoes, accessories of eyewear and jewellery, and has a larger consumer audience to cater to. To attract more customers, other programmings such as eye exams and contact lens services are offered and act as a second source of revenue in addition to the sale of the luxurious vintage eyewear. Furthermore, services such as one-on-one lens consultation and repair and adjustments help develop a customer relationship. Due to the few activities ongoing in an optical store, typically only one display room is required. As demonstrated by the analyzed stores, `Spectacle’ and `Opticianado’, the space generates a cozy atmosphere and does not overwhelm the customer with many merchandise selections. Nodes allow transitions from one place to another without crowding the space with merchandise. An example would be waiting areas.

Waiting areas are also incorporated into the design of the store for friends and family who may be tagging along to help the interested buyer shop. Many of the stores place the seating area in the middle of the room to engage with those waiting individuals and can still be part of the shopping experience. Additionally, as many of us may have experienced, there have been times where we are dragged into a store that is not in our interest and all we want to do is leave. By situating a seating area into the space, it alleviates this problem as those individuals can sit down and read a magazine while they wait. This is an effective business strategy as it increases buying potential from encouraging customers to stay in the store longer.

b.

people and adjacencies

c.

colour and material

The colour should not be the main focus of the room in an optical store; it should be limited or fairly neutral to allow the eyewear to stand out. It may be a solid colour or simple wallpaper that contrasts to the colours of the eyewear. If it is too busy, it may take the attention away from the eyeglasses. Companies connote themselves with certain colours to brand themselves. For exaxample, the Victoria Secret PINK company has branded themselves with pink and white.

The material in an optical store can vary based on the concepts the store is built upon; however, the glass displays are typically used so that the products can be seen without needing to taken out. Reclaimed wood is also a good choice for floor, walls, ceiling designs, or cabinetry. Tile design could be incorporated into the floor to add interest. Floors should be slip-resistant as most eyewear is displayed on fragile shelves. Acrylic may also be used in various design features for special eyewear displays or to accentuate areas; however this is not the best material selection due to its sustainability.

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d. lighting Lighting is the most important part in an optical store. The store should be brightly lit to allow the customers to see their own reflection when trying on frames. Scone lighting may be incorporated into the mirrors to eliminate facial shadows as well as improve the complexions of customer trying on the frames. Customers may be more inclined to buy the pair of glasses if they look good while trying it on. Lighting should be most emphasized on the display cases to accent the merchandises; this is achieved using track lighting and ambient lighting. Decorative lighting such as chandeliers or other pendants can be used to help enhance the look of the space.

e. acoustics Acoustics can be controlled through the materiality in the ceiling, walls, shelving and flooring. For example, carpet is a good sound absorber for the sound of footsteps that may travel through floors; however, this material is difficult to clean and is not a good choice for commercial environments where there is high traffic. The use of hardwood will resonate most sounds within the store, as will solid glass, wood or acrylic cabinets. Acoustics also depend on the structure of the store, whether it has tall or low ceilings, concave or convex.

f. human factors EMOTIONAL DIMENSIONS

VA R I A B L E S

ATMOSPHERE

warm, cozy because of the dim lights and natural wood colour of walls, coherency AROUSAL medium DOMINANCE has personal control of the space, may lead into the store more that invites people further into the store

AFFINITY

Vibrant, fun, young, cool Vintage furniture adds charm High visual and cultural sense Coloured, translucent laminate gives light airy feeling George Nelson’s “Marshmellow” sofa at front of store is fun AROUSAL high, due to interesting store front DOMINANCE good dominance due to the various functions in the space

DEMAND pleasure > need CONTROL very involved with the space

ATMOSPHERE

business, serious, professional environment couches were at the back, lounge area AROUSAL medium, two televisions at window plain, boring, generic DOMINANCE display of special eyewear older customers

comfortable circulation within environment AFFINITY space and product

ATMOSPHERE

mismatched furniture, uncomfortable visually chaotic very dim with bad lighting space does not feel inviting or familiar AROUSAL cold space – no arousal did not appeal to the senses ATMOSPHERE

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space and product

DEMAND AFFINITY

need > pleasure interest in product > space

DEMAND need > pleasure CONTROL space does not interact with person, disconnection.

AFFINITY interest in product > space

g. environmental issues Reclaimed wood on the ceiling for cozy inviting space Dimmer lighting, less electricity Big front windows, and small consistent pot lights and track lighting, less electricity Minimal design, use of less materials Small space

Lots of lighting used for a bright space Many different materials used

Bulky furniture, use of more materials = less eco friendly

h. universal access The minimum width of an accessible route must be 32 inches, although 36 inches is preferred for more comfortable access. A ramp is required if there’s a change in level over ½ inch. Beveled edges between levels are not to be used. The minimum diameter of a turning circle is 60 inches for wheelchairs to maneuver easily. Toe clearances for shelves need a maximum length of 6 inches, and maximum height of 9 inches. For comfortable reach limits, the highest unit should be placed maximum 48 inches, and a minimum of 15 inches from the floor.

i. wayfinding Merchandises are often placed along the walls of the retail store. Therefore, users are encouraged to utilize the entire space and walk around the full perimeter. Seating areas placed in the centre are also common in optical stores, this creates a round-about circulation.

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PRECEDENT DESIGN SOLUTIONS a. street front b. mall front c. suburban d. urban

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Our idea of what makes a successful retail environment in the following four locations.

A redesign of circulation and wayfinding.

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STREET FRONT

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Shopping is not always a priority for people who are walking on the streets. Streetfront stores need to have an eye-catching exterior to draw in potential customers. The curve in this plan is shaped so that it is a continuation of the walls facing the street. As the people walk alongside the store front walls, they will naturally curve into the space as the wall takes them. Then, without realization, they will have ended up in the space, and then the interior will play the rest of the role of keeping the people inside.

MALL FRONT Retail stores in a mall don’t necessary have to be big, but should have a comfortable space. Space planning and circulation is important, and everything should be kept thin and minimal.

An inviting space should have a wide entrance, and captivating window displays. Being able to show some product but conceal the rest of the space can intrigue customers, as the relationships that are kept between the customer and the sale associates are professional, personal, and relatable.

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SUBURBAN Retail design within the suburban area requires stores to be larger. As things are located further apart from each other, driving is common in such areas; therefore, store front displays should be large enough for Ato spend more time in the store because they have to travel a further distance.

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URBAN Retail environments located in urban areas tend to be small spaces. It is crucial is maximize the limited space, with minimal and straightforward design. As the majority of the patrons arrive by foot, enticing window displays are crucial to draw people into the space. It should be an open concept space, allowing customers to browse and wander freely. Urban retail stores have an unrestricting and inviting vibe, and pique people’s curiosity to enter.

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CONCLUSION

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After visiting a variety of optical retailers, we have seen examples of both successful and unsuccessful cases. We examined a total of five different eyewear retailers: Spectacle, Gafas, Aeroplane, Opticianado and Face Furniture.

From our selection, we concluded that Opticianado was the category leader in terms of product selection, service, and design. Face Furniture was least successful in all aspects. Although Opticianado service was not outstanding, their selection of frames were one-of-a-kind and hand picked. Also, their store provided other interesting services that would encourage the customer to linger. Quirky details like selling hand-made frame cases, monthly live performances, and a music and reading station creates a memorable experience for customers.

In comparison to Opticianado, Face Furniture fails to draw in customers and keep them interested. Upon entry, the store is dark and the interior is bland. Despite the excellent service and consultation, their product selection are limited and generic. The execution of the store was troublesome as well. The mirrors were spaced at an uncomfortably far distance from the display shelves and it was difficult to see one’s reflection due to the poor lighting. The store displays the license of their only optician who only received his license this year. From these two examples, we developed a point of view to analyze successful and unsuccessful retail optical stores.

Design wise, a good retail store provides ample lighting, a space that promotes their product, and has a welcoming environment. Spatial programming is also important - an interactive space that engages with the customer creates emotional dimensions within the store, resulting in a customer’s high arousal and dominance. Branding is another way to further enhance the shopping experience. It can develop a store-to- customer relationship that would promote returning consumers. Physiological and psychological factors can humanize the space, creating familiarity and control around the store. Increasing affinity for the products can be achieved from improved window displays, attracting potential customers passing by into the store. Ultimately, a space needs to be functional and have meaning that reflects the store concept and ties with the product. This is what creates a sense of place.

Based on a business standpoint, a successful optical store provides knowledgeable consultants and sales representatives that offer good service, a wide selection of merchandise, and multiple services such as eye exams on site or frame repairs.

Hosting and participating in special events such as art shows or local music gatherings engages customers and is an effective advertising strategy to gain exposure. Also, the geographic location of the store greatly impacts the marketing approach the retailer takes to run a successful business.

From our analysis, we have developed an understanding of the sector, the retailers, and how they do business. We have also created a point of view for the necessities of successful design specific to the eyewear sector and utilized design parameters in improving certain issues. This allows us to create a space for the maximum brand experience and “selling” potential of the merchandise or service.

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CASE STUDY analysis

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target market The trendy and sophisticated eyewear store, ‘Gafas’, targets consumers within the range of young professionals of early 20’s to older professionals aged 40 who have purchasing power for higher priced products. From reading glasses, to sunglasses, and even decorative glasses this store caters to glasses and non-glasses users. To add, Gafas broadens their services by offering exams. Customers come to Gafas to purchase good quality vintage style eyewear; the store follows the marketing model of price over value, meaning the quality of the product is reflected in the price paid. As one can consider these quality glasses is like an investment.

Finding the right pair of glasses can be time consuming as the consumer will typically try on multiple eyeglasses until they come across one they like, therefore the peak hours for customer visits are typically on weekends when customers have the most leisure to shop. On weekdays, the store remains open later on Tuesdays to Fridays until 7:30 to accommodate customers who work full time and do not have time during the day to visit. There are also other odd times when customers stop by the store during their lunch break.

During the weekday, there is only one employee working because of the low traffic flow, but on weekends, there are two to three more on-call to accommodate the higher traffic.

overview of merchandise Gafas chooses handmade eyewear (people driven) over brand obsessed mass produced eyewear (corporate driven), selling art on its own. Gafas resisted temptations most optical stores embrace in order to churn a faster profit. Gafas introduced the Kings of Past shop-shop, a leader in original unused vintage eyewear from 1960-1990. They are a flagship store that presents and sells branded eyewear.

The displays for eyewear are mostly open concept, with lighting and minimal shelving, is kept open for easy access to the products. The more exclusive and expensive eyewear are kept behind in glass display cases to show importance. Other similar pairs of eyewear in other brands are kept in small pull out cabinets that hide visual clutter. Most of their displays are installed by the wall, a large 6 feet instalment in height, and 2 feet in width. The smaller exclusive brands stand on its own, in a glass display box or behind a glass display case stretched on the far wall on the left.

The colour distinction differentiates its status and price ranges.

Gafas’ logo is simple and unique, the G is turned into a pair of glasses, turned sideways and the font is clean, thin and minimal. The use of orange gives the font a fresh look that is eye-popping yet subtle. However, their branding needs to be improved since they use two fonts that are different from each other, used Interchangeably.

merchandise per square foot The store is estimated to be 600 square feet in area. The estimated number of glasses they have in stock is around 200 in total, from the ones on display, to the ones in storage. Therefore, the number of merchandise per square feet comes to 1/3 glasses per square feet.

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competition sp e c tacl e

Being the closest in proximity to Gafas, this luxurious and vintage eyewear boutique proves to be the biggest competitor against Gafas. Their location on Queen Street offers many services that Gafas does not offer such as a wider selection in products. However, because of its incredible selection, most of the space is dedicated to showing the eyewear alone and the customer becomes engulfed into the massive amount of frames rather than the dynamic interior.

opti ci anad o

Opticianado’s selection is much smaller store than Gafas, but the experience is much more lively and interactive. Opticianado’s selection of brands and styles are much more unique and one-ofa-kind than Gafas. They also include different interactions in the store, like a music and reading corner, an eye test station and live music every month that attract returning and new customers.

f ac e furniture

Although Gafas is considerably better than Face Furniture in terms of selection and interior interest, Face furniture proves to have better customer service as more attention and care is given to a customer at Face Furniture than at Gafas. This is also strongly affected by the small number of customers Face Furniture has versus Gafas. Nevertheless, it will positively benefit Face Furniture as current customers can refer other potential customers.

aeropl ane

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For customers with an appointment and a higher budget, they may choose Aeroplane instead of Gafas. Aeroplane offers a one on one service to help their customer create or choose the perfect pair of frames.

Although Gafas offers much more selection, Aeroplane can provide their customers with eye or sunglasses that no one else will have.

primary and secondary circulation The merchandises are all placed on the perimeter of the walls, making it the primary circulation. This is an open concept space and encourages customers to freely wander. The secondary circulation is the second room, which is located in the back. This room is much more private. It is a circulation roundabout the sofas that are placed in the middle, and the desks beside the left wall provide a private area for one-on-one consultation. The reception desk is located between the two circulation areas, allowing easy interaction between staff and customers.

layout and planning The store has an elongated front room where it opens up into a large second room which is the destination. From the entrance, customers view this sightline of the second room that is slightly covered by the cashier counter which induces curiosity to walk further into the store. Also, the products are placed along the walls to draw customers back of the store where it is cozy to encourage customers to spend a longer time in the store to increase selling probability. The secondary programming of eye exams is located in the second room around partition between the first and second room. This forces customers to walk deeper into the store to pass by the numerous products displayed on the wall, hoping one of them will catch their eye and may end up buying it. The cashier counter is placed in the middle of the store to service customers on both sides. To add, it draws the boundary between the end of room one and start of room two.

lighting and technical systems Pot lights are distributed evenly throughout the entire store to give an overall ambient lighting. Track lights run along all the outer edges of the store to provide focus on the shelves and mirrors. All shelves in the store are backlit from 2 feet off the floor and 8 feet tall, which provides ample light to see every detail of the frames. Also, because the backlit shelves are brightest at the customer’s head-level, it creates the effect of wall sconces that can erase the shadows on a person’s face, allowing their appearance to be in its most appealing state.

In the front portion of the store, all mirrors have built in lights and are backlit. Cove lighting is used decoratively throughout the store along the top of the walls. The amount of lights is a little excessive, because the backlit shelves already provide ample lighting.

built in and freestanding fixtures Most of Gafas’s eyewear shelves are not built into the walls, but are poles attached at the bottom and top to the backlit walls. Special displays are floating glass encasements attached to poles and the Vintage and Celebrity frames are displayed on shelves are built inside the wall in the second room. Cabinets are also built into the walls between each shelving unit.

The front counter is also built into the walls.

The only freestanding furniture are the couches and coffee table in the back portion of the store. Also, the two shelves in the front portion of the store that stand in front of the brick wall are freestanding.

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display methods and how do they promote impulse buys Boutiques such as Gafas depend heavily on their window display cases to draw customers into their store. From afar, customers can view into the store of Gafas where there are rows after rows of glasses displayed along the perimeter of the store. Purchases from loyal customers and planned-purchase customers make up more than 50% of Gafa’s sales, and the remaining percentage is made from wondering buyers and impulse buyers. Gafas displays all their merchandise on racks making them easily accessible to potential customers. Unlike its other competitors such as Spectacle and Opticiando, Gafas refrains from using drawers as a method of display and displays all their merchandise on racks located around the perimeter of the store. The products are arranged by the type of eyewear and by brand; glasses are located at the front of the store and sunglasses in the back along with specialized eyewear that are higher in price. By distributing the products along the perimeter, Gafas maximizes its circulation space as well as it is draws customers deeper into the store and increasing sales potential by increasing the time spent in the store. It creates customer experience in a form of entertainment because customers are encouraged to try on different products and there is great chance of impulse buy once they find the right fit.

Products are lit using back lighting as well as track lighting used to create an uplifting ambience and also accentuate the glasses. To add, the tall display racks contribute to the airiness of the space as well as the fixed framework creates uniformity with the products being displayed. On the contrary, the frailness of the display rack makes it difficult for customers to remove and put back the glasses onto the rack.

branding and packaging Gafas chooses handmade eyewear (people driven) over brand obsessed mass produced eyewear (corporate driven), and treats their eyewear products as selling art on its own. Gafas resisted temptations most optical stores embrace in order to churn a faster profit and instead stand by their product value model. Gafas introduced the Kings of Past shop-shop, a leader in original unused vintage eyewear from 1960-1990. It is a successful idea to showcase them to increase their reputation as a flapship store that presents and sells exclusive branded eyewear. Gafas’ logo is simple and unique, the G is turned into a pair of glasses turned sideways and the font is clean, thin and minimal, which is reflective of the store interior. The use of orange gives the font a fresh look that is eye-popping yet subtle, however. The second Gafas logo is carved out of a block of wood, that looks rather chunky and out of place. It is used on their exposed brick wall that is located across from the reception desk. Overall, their branding needs to be improved since they use two fonts that are different from each other, used interchangeably.

display The displays for eyewear is mainly open concept, with lighting and minimal shelving used to maintain the openness and easy accessibility to the products. The more exclusive and expensive eyewear are kept behind in glass display cases to show importance. Other similar pairs of eyewear in other brands are kept in small pull out cabinets that hide visual clutter. Most of their displays are installed wall mounted on a 6 feet tall and 2 feet wide instalments. The smaller exclusive brands stand on its own in a glass display box or behind a glass display case stretched on the far left wall. Furthermore, the wall’s colour distinction differentiates its status and price ranges. The interior has the coherency in colour of beige and black finished in matte, and the materiality is leather, glass and plastic, with stained wood finishes creates a sophisticated space, large and angular. There are many rectangular shapes, and linear visuals that give the space a wholeness that balances the sensory experience. The bulky exterior does not adhere with the minimal design inside the store. Its use of materiality is stained and finished wood that appear contrasting against glass and acrylic. The display windows of two large tv displays which does not effectively express the intent and concept of the store, as well as the product, nor interact with the customer to provoke them in coming into the store.

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details Some signature details of Gafas are their mannequin heads that are built into the brick walls. It is a creative way to display their featured frames. Also, their storefront is a defining image of their store. The glass entrance and windows are completely framed in wood with their logo and store name above. Gafas uses 2 different logos, one on the outside of the store and one inside. Inside the store, the Gafas nameplate is made out of wood, creating a unique combination of materials and textures against the brick walls.

materials, finishes, colours and textures The use of material in Gafas is very limited and neutral, which creates a professional, business-like aura. The most commonly used material is the dark wood laminate, used on the floors, cabinets and the frames around the backlit walls. The next most used material is drywall, which covers all the walls in the store except for one section in the front portion of the store that is exposed brick wall. The seating area in the back portion of the store consists of black leather couches and a glass coffee table. Such neutral colours are chosen to emphasize on the eyewear rather than the interior.

The overall colour in the store is dark brown, with white walls and sand coloured bricks, however, there is one focal wall in the store with dark purple and fuchsia damask wallpaper to distinguish the vintage eyewear section.

The textures in Gafas vary as there are rough brick wall, smooth dark wood cabinets and soft black leather seating. Diverse and interesting textures are not necessary in eyewear stores because most interaction and physical touching in Gafas is between the customer and the eyewear.

Wood Flooring

Wallpaper

Brick Wall

Painted Drywall

Wood Furniture

Backlit Acrylic

Mirror

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CASE STUDY design solutions

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concept statement INTERACTIVE ART Eyewear at Gafas is treated as pieces of artwork. They are not restricted to visual appreciation, but instead are meant to be touched and experienced. The redesign of Gafas will entice interaction between the customers and products using the key elements of improved space planning, forms, and materiality. This environment will be home to installations of interactive art - creating meaningful relationships between people to product, people to people, and people to space.

exisitng floor plan

redesigned floor plan

materials Back Room Light

Front Room Resin

Concrete Flooring

Clear Acrylic

Resin Countertops

Brick Wall

Mirror

colours

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ENTRANCE STORE FRONT

The entrance welcomes customers with white resin walls. A very minimal and clean look, yet the eye of vision sees a difference further into the space. At first, the waiting area consists of open space, a wall of interaction is installed across from the stools, giving a taste of what’s further inside the store. Walking further in, a series of transparent acrylic displays are staggered to great a narrowed in pathway to the reception desk on the left.

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FRONT DESK RECEPTION

The reception desk and repair station are placed side by side, separated by a wall. It’s convenient for staff to watch the store and interact with customers that come in for minor repairs such as nosepad replacements and glasses readjustment. This encourages more communication with customers, as the staff are accessible in the open concept space. Also, the bright orange resin counters draw focus to the area in the otherwise neutral colour palette.

R E S T S TAT I O N

I N T E R A C T I V E D I S P L AY

In this interactive rest station, less interested customers accompanying their friends can still be entertained by the various details in that space. Side tables with built in eyewear display pods allow exhausted customers to sit and shop.

Orange stretchable mirrors hang overhead the seating area at a reachable distance. A touch-screen station hides behind the regular seating area with a built in camera, so customers can virtually try on different frames and take photographs to aid their comparison between brands and styles. This rest station will have customers linger and potentially become more willing to purchase a product.

The back of the store is the “destination�. It is the most interactive space in the store used to encourage customers to stay longer. The design of the display cases in this room is a peeling effect; they begin as voids in the wall then slowly protrude outwards and are suspended by wires to create a floating illusion. Furthermore, the two seatings add humour and playfulness because they look like eyeballs.

LOUNGE

FOCAL POINT

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END NOTES

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3form. Crush Max Orange. N.p., n.d. Web. 29 Oct. 2012. <http://www.3-form.com/materials/varia_ecoresin/play/crush_max_orange/>.

“ARCHITECTURE AND ART.” LINOLEUM SPECIAL: Manufacturing Linoleum. N.p., 2000-2012. Web. 23 Oct. 2012. <http://www.armstrong.com/commflreu/en-gr/linoleummanufacturing.html>.

Binggeli, Corky. “Accessibility.” Interior Graphic Standards: Student Edition. 2nd ed. Hoboken: John Wiley & Sons, 2012. 18-23. Print.

Coffrey, Diane. “Coastal.com Announces Top 5 Trends in Eyeglasses for 2012.” ProQuest. Business Wire, 26 Jan. 2012. Web. 10 Sept. 2012. <http://ezproxy.lib.ryerson.ca/ login?url=http://search.proquest.com.ezproxy.lib.ryerson.ca/docview/917913967?accountid=13631>.

“Company Pages.” Reclaimed Building Materials to South East England. N.p., n.d. Web. 29 Oct. 2012. <http://www.authentic-reclamation.co.uk/>.

Fresh Daily. “Junction.” Junction. N.p., n.d. Web. 26 Oct. 2012. <http://www.blogto.com/junction>.

Iris Ceramica. “FINISHES AND COLOURS.” Fossil Wood Interior Floor Tiles. N.p., n.d. Web. 29 Oct. 2012. <http://www.irisceramica.com/collezioni-dettaglio. php?idColl=PORCELAINWOOD>.

Lieser, Julia F. “A History of Eyeglasses.” Editorial. Child Life Mar.-Apr. 2007: 28-31. ProQuest. Benjamin Franklin Literary & Medical Society, 09 June 2010. Web. 10 Sept. 2012. <http://ezproxy.lib.ryerson.ca/login?url=http://search.proquest.com.ezproxy.lib.ryerson.ca/docview/216762194?accountid=13631>.

Mirrorlite. “Free Standing Glassless Mirrors.” Free Standing Glassless Mirrors. N.p., n.d. Web. 29 Oct. 2012. <http://glasslessmirror.com/free-standing-glassless-mirrors.html> Perruccio, Anthony V., PhD, Elizabeth M. Badley, DPhil, and Graham E. Trope, MB, PhD. “A Canadian Population-based Study of Vision Problems: Assessing the Significance of Socioeconomic Status.” The Information Service of the Canadian Ophthalmological Society. Toronto Western Research Institute, 13 Aug. 2010. Web. 15 Sept. 2012. <http://www. eyesite.ca/CJO/4505/i10-061.pdf>.

Popescu, Gabriel, and Mustafa Mir. “Brief History of Optics.” UIUC. University of Illinois at Urbana-Champaign, 17 Aug. 2010. Web. 10 Sept. 2012. <http://light.ece.illinois.edu/ ECE460/PDF/Brief%20history%20of%20optics.pdf>.

Schaeffer, Jack, and Jan Beiting. “The Early History of Contact Lenses.” Review of Optometry. Jobson Medical Information LLC, n.d. Web. 10 Sept. 2012. <http://legacy.revoptom. com/contactlens/pdf/clp_3.pdf>.

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APPENDIX

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Building code and by laws

3.8.1.2.

Entrances

Table 12.3.4.8.

4.1.5.3.

Full and Partial Loading

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Vivien (Wai Sam) Li IRN 300 Jana Macalik In Class 2 – Built Environments KIRK ORIGINALS FLAGSHIP STORE, LONDON Kirk Originals is located in London, England on 6 Conduit Street. At the approach, it is evidently set apart from the conventional white-lit boxed optical retail environments. Monochromatic in colour, the interior décor draws inspiration from their Kinetic collection. The environment is dim and dark, yet sophisticated and lively, bringing customers into its own world.

At approach, the store demands attention as the storefront hangs a series of large printed eyes that are actively winking to captivate people walking by. Arriving, one immediately sees the destination at the end of the store; a Kirk Originals logo is projected in white against the black walls. The open space that stretches down the west side of the store allows the eye a visual permeability. It is a successful focal point as both sides of the wall of displayed eyewear leads the eye to the center. The back of the store opens up like a dome, viewing like fish-eye lens, showing maximum product. Here, circulation is less controlled and more dominance will effectively liberate customers to spend more time browsing. A comfortable waiting space is also noticeable at the front of the store as it is a great node before being directed to walk down the vertical path. It is helpful to observe that circulation is in an “e” formation, and directs customers to walk into every corner of the space that is designed to entice Kirk products to them. Contrasting the open space, a wall barrier hides the other half of the retail space. Not only does it make a solid background for the storefront displays, but also it hides the consultant table, once again allowing the space to speak for itself. Additional to space, a great deal of design details allowed the eyewear to be fun, interactive and admirable as pieces of art. Sculptural heads and wall mounts are scattered in white, giving a visual texture while it wears the product on its face. The design details focus on the optical art pieces yet the method of display is art itself, an installation that puts a different dimension to the meaning of the space.

The retail environment can look like an art gallery. There is a contrast with space planning, design elements and colour that is successfully balanced. It is smart shopping experience that engages customers with products that is communicated through interior design yet stays true to their identity – the branding and culture of Kirk Originals.

Nicole (Ka Hei) Wong IRN 300 Jana Macalik In Class 2 - Built Envornments Mykita is a German eyewear boutique with locations in Berlin, Vienna, Paris, Zurich, Tokyo and Mexico. The designers, Moritz Krueger, Philipp Haffmans, Daniel Haffmans and Harald Gottschling, create remarkable stainless steel frames without a single hinge, screw or welded joint. The chosen retail store is the branch located in Vienna.

This branch was chosen for its unique juxtaposition of traditional dark wood exterior and striking white interior. The interior itself acts as the window display for Mykita. It has extreme presence within the neighborhood using its petite but bold exterior to create an abnormal beat within the regular rhythm of the quaint, old street. It is like travelling through time when you enter Mykita.

Inside the shoebox shaped store, all architectural details are eliminated, with almost no protruding barriers, diverting paths for traffic and niches for rest. The L-shaped counter creates a dent in the rectangular flow of the room at the back. For customers needing an eye exam, there is a node created for a special service within the store. Aside from the back room, the general flow within the store is as simple as its colour choice. However, as one tries the eyewear, they must turn to walk the other way and see their reflection in one of the only mirrors in the store. Therefore, as one travels through the space, it naturally becomes a T-shaped flow of going forward, turning towards the frames and then the opposite towards the mirror. At the back of Mykita, the customers may create a possible node for themselves because it is the only place inside the store that has a full-length mirror adjacent to the eyewear. They may become stagnant in that area because they can instantly try various eye wear and see how it looks, or intensely analyze one pair with the view of the full body.

The only details within the store are the backlit shelving unit and small built-in shelves within the long horizontal mirror. Made of white steel rods, all shelving is built upon that structure and the colour blends seamlessly into the rest of the store, creating more focus on the eyewear. A strip of exposed brick wall at the front of the store gives a hint of traditionalism within this ultra-minimalist space while steel shelving covers the rest. Also, the store provides little to no exterior edge as the entire front is made of glass. There is little visible barrier between inside and outside.

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Nichola Chan IRN 300 Jana Macalik In Class 2 - Built Environgments.

Located in Manhattan, New York City is a little boutique store that specializes in vintage style eyewear named ‘Anthony Aiden’. The store is situated on the first floor of a residential apartment just around the corner of 2nd Avenue and is beside both a rehabilitation centre and a small coffee shop. A downside for the store being secluded from the main street is the lack of exposure to potential clienteles that would pass by the store. On the contrary, the advantage is an extended shopping experience before arrival at the doorsteps of ‘Anthony Aiden’ where customers escape the busy life into a neighbourhood of tranquillity.

Upon entering what used to be someone’s home that is now the store, customers time travel back to the1960’s - 1990’s. The store use of vernacular materials of brick walls and wooden fixtures complement the eyewear products and help set the vintage concept. I think this is an important element to include in all retail design where the store reflects its products to enhance the customer experience as well as gives it personality to the space.

Like many other boutiques, ‘Anthony Aiden’ has a small square footage which may not be universally accessible, however, it creates a cozy environment that can help stimulate interaction between buyer and seller. Such service of consultations is located in the back of the store where additional services such as eye exams and repairs are provided. A feature I thought to be a ‘smart design’ was making the large mirror multifunctional as both a focal wall and using it to create the illusion of a bigger space where the store appears to continue behind. I am very much attracted to this wall display because the recessed areas create a rhythm of playfulness and a ‘teasing’ effect for customers to see what product is displayed in the next notch and ultimately drawing them further into the space.

In addition to my likings of the many design elements at ‘Anthony Aiden’, there are also some features I would reconsider such as the lighting. As this design element plays a major role in creating the store’s vintage ambience, I am concerned that the yellowness of incandescent lighting will distort the colour of the glasses and that customers will not get a real sense of their overall look when trying on the products. Another reconsideration is the space planning of the waiting area; I like how it is located in the middle of the boutique so that non-buyers still feel welcomed and are not segregated, however, the large mirror becomes blocked by those sitting because the seats are positioned right in front.

‘Anthony Aiden’ has successfully created a high buying potential environment where customers can easily spend hours looking at the different display cases filled with its trendy unique products.

As addicting trying on different glasses can be, and after losing track of time in the trance-like vintage shopping environment, customers will eventually have to time travel back to present day time of reality.

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