2. People love to look, window-shop, and buy. Shopping as an experience should provide
fun, which in turn provides profits. A successful store or shop is one that is designed to
merchandise in addition to looking good. A store can be divided into two principal parts
The exterior, which gives identification, encompasses the storefront, show windows, and
displays, and the interior, where the promise of the storefront display is delivered. Briefly
stated, the storefront initiates the sale, and the interior consummates it.
The storefront and the design of the façade must be attractive in order to catch the
shoppersâ attention and to draw the customers in from the street or from the mall in
shopping centers. Graphic identification, with bold color, lighting, lettering, and logos,
and attractive display of merchandise are the initial steps.
RETAIL SHOP
3. PRINCIPLES OF RETAIL SHOP DESIGN
In order to design satisfactory shops, the first requirement is an understanding of
those portions of current merchandising theories which affect the design problem.
Briefly, âmerchandising psychologyâ consists of, first, arousing interest; second satisfying
it.
With staple goods the first phase is almost automatic. When no staples,
accessories, or specialties other than âdemandâ goods are to be sold, methods of
arousing interest may become more complex.
The second phase-the actual sale-involves factors of convenience which are
desirable in order to make buying easy, to satisfy customers completely, and to achieve
economy of space and time for the store management.
Both phases affect the design of retail shops, and are closely interrelated.
4. ATTRACTING CUSTOMERS
This can be accomplished by means of advertising, prices, show-
window displays, or new or remodeled quarters, which occupies
much of a merchantâs efforts. Of these, storefronts and display
windows are important to the store designer.
INDUCING ENTERANCE
Show windows, in addition to attracting passerby, should induce them to
enter the store. Show windows may be opened up to display the shopâs
interior; or closed in, to give privacy to customers within. Door locations
require study in relation to pedestrian traffic flow, grades of sidewalks and
store floors, and interior layout of the shop.
5. ORGANIZING STORE SPACES
Organizing store spaces, and consequently the merchandise to be sold, into
departments, enables customers to fund objects easily, and permits
storekeepers to keep close check on profits or losses from various types of
goods. Store lighting and âdressingâ are simplified. Even small shops
benefit from a measure of departmentalization; in large shops, the practice
becomes essential as methods of training salespeople, of handing
controlling, and wrapping stock become more complex.
INTERIOR DISPLAYS
Interior displays require particular attention in specialty shops. Types range
form displays of staples may suggest to the customer. Problems of
arrangement with regard to merchandise, and routes of customers
approach are involved.
6. CONVENIENCES
Conveniences intended primarily for the customers benefit, while not strictly
allied to the problems of attracting trade or selling goods, are necessary to
some types of shops. A florist, for instance, provides a card-writing desk or
counter in his shop. In other shop types, particularly those whose prices are
above the average, such extra provisions are often highly desirable.
Conveniences of this kind include: telephone booths, drinking fountains,
lavatories or powder rooms, desks for writing cards of checks, stools or chairs
at counters in special sales rooms, and vanity table or triplicate mirrors for
certain types of apparel fitting rooms.
7. INTERIORS
The successful retail shop is an efficient selling machine or sales
factory. In addition to servicing the customers, the employees
have to be considered so they can give better service to the
customer.
Merchandise and space must be organized to help the
customer in making a selection and to help the sales person in
selling. Easy circulation and exposing the customer to the
maximum amount of merchandise are part of good design. Avoid
monotony in circulation and display of merchandise.
The location and design of the cashier and wrapping unit are
important and provide for several persons to be serviced. Often
this acts as a control center.
Flexibility so that fixtures and departments can be moved or
modified in part of present-day merchandising. Fixtures should be
minimized and merchandise emphasized. Design and use fixtures
so that full attention is thrown on the merchandise.
8. SELLING AREAS
Departmentalization benefits to be derived from segregation of merchandise by types
have been touched upon previously. All these are factors in decreasing the average time
per sale, an important figure in large-store accounting and in small stores with rush
periods.
1.Demand or staple goods
Demand goods are also staples, like
conveniences, but are articles which
the customer start out which a
definite idea of purchasing.
2.Convenience items
Convenience items are stocked for the passerby
who happens in but who may written for other
purchases if properly impressed. Often these are
not in themselves strictly profitable merchandise.
3.Impulse or luxury goods
Impulse or luxury goods are high
profit articles, usually high in
price.
10. STRAIGHT PLAN
Straight plan is a conventional plan that uses walls & projections to create
smaller spaces. It is an economical plan to use and can be adapted for any
type of store from gift shops to appealer outfits, drug store, grocery store to
department stores variety in the straight plan should be introduced by
raising the floor level of the shop. This type of plan pulls customers to the
back of the store. This plan is also good for book stores.
11. PATHWAY PLAN
Pathway plan pulls patron through the store to the end (rear) without
interruption of floor fixtures. The path can take any shape & create a
pattern. This type of plan is suited for larger stores over five thousand
square feet and on one level(floor). The pathway plan is a very good
organizer & pulls the shopper from the front to the end of the store. This
plan is good for clothing store because it does not give cluttered feeling.
This plan focuses the shoppers attention on the merchandise.
12. DIAGONAL PLAN
For self service store a diagonal plan is better. The cashier is in the central
location with site lines to all areas of the space. Soft goods or hard good
store including drug & food store can take advantage of the diagonal plan.
This plan is having a dynamic quality because it is not based on straight line
it invites movement & circulation.
13. CURVED PLAN
This plan is good for boutiques and salons or other high quality store. The
curved plan creates & inviting special environment for a customer. It also
cost more to construct than angular plan. Curved theme can be
emphasized with walls, ceiling and corners to complete the look. Specify
circular floor fixtures.
14. VARIED PLAN
For products that required back up merchandise to be immediately near
selling. The varied plan is highly functional it is a variation of straight line
plan with a certain area allowed for carton storage near the perimeter of
the wall. The plan has a bellow effect. This type of store is good for jewelry,
hard ware & tobacco shop.
15. GEOMETRIC PLAN
The designer creates forms with shapes derive form show cases, racks. This
plan is the most exotic of the 6th basic plan & designer can use wall angles
to restate the shape dominating the sells floor. This is a very good plan for
apparel show & gift shop.
16. DIMENTIONS
The essential function of retail spaces is to display and sell
merchandise. The design of these spaces involves the
manipulation and coordination of architectural, interior
design, and merchandising elements as necessary to meet
the programmatic needs of the client. It is critical that the
space in which the customer and store personnel function
is of the highest quality. Ensuring this quality requires a
knowledge of the planning and design of the various
interior components that constitute the building block of
retail spaces.
17. This figure shows the clearances involved for a 42-in, or 106.7- cm, high counter to service a
seated user. By filling the recess with an additional display, however, the counter can also be used
exclusively as a typical sales counter. It should be noted, however, that although sometimes used
for special display situations, such a counter height is not recommended. Both the customer and
the sales clerk of smaller body size would find coping with such a height uncomfortable
anthropometrically, particularly when one considers that the counter would be higher than the
elbow height of slightly over 5 percent of the population. From a merchandising view point, were
customer convenience is of paramount importance, it would be unwise to exceed 39 to 40 inn, of
99 to 101.6 cm as a counter height. In addition, the smaller sales clerk forced to tend such a
counter for extended periods of time could be subjected to servers backaches and pains.
In Cm
A 26 - 30 66.0 - 76.2
B 18 - 24 45.7 - 61.0
C 42 106.7
D 28 71.1
E 84 - 112 213.4 - 284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 â 48 76.2 - 121.9
I 18 â 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9
18. âą Figure 2 illustrates the clearances for a typical sales counter.
In Cm
A 26 - 30 66.0 - 76.2
B 18 - 24 45.7 - 61.0
C 42 106.7
D 28 71.1
E 84 - 112 213.4 -
284.5
F 18 45.7
G 18 - 24 45.7 - 61.0
H 30 â 48 76.2 - 121.9
I 18 â 22 45.7 - 55.9
J 35 - 38 88.9 - 96.5
K 72 182.9
19. âą Figure 3 shows the clearances required for a medium height display counter.
The suggested seat height of 21 to 22 in, or 53.3 to 55.8 cm, requires a footrest
for the seated customer. The counter height shown will allow the display to be
viewed by both the seated. The customer activity zone allows adequate space
for the chair. Knee height, buttock knee length, popliteal height, and eye height
sitting are all significant human dimensions to consider in the design of counters
to be used by a seated customer. In Cm
A 36 91.4
B 26 -30 66.0 â 76.2
C 18 â 24 45.7 â 61.0
D 30 min. 76.2 min.
E 10 25.4
F 21 â 22 53.3 â 55.9
G 5 12.7
H 23 â 25 58.4 â 63.5
I 4 â 6 10.2 â 15.2
J 34 â 36 86.4 â 91.4
K 30 76.2
L 16 - 17 40.6 â 43.2
20. âą Figure 4 shows a low 30 in, or 76.2 cm,
display counter also for use by a seated
customer. The anthropometric
considerations are the same. Although
the counter height is responsive to the
anthropometric requirements of the
seated customer, it is less than ideal for
the standing clerk. For the standing
userâs optimum comfort, the counter
height should be about 2 or 3 in, or 5
to 7.6 cm, below height. This will allow
a person to handle objects comfortably
on the counter surface or use the
counter as support for his or her arms.
The 30 in height is too low to permit
such use.
21. âą Figure 5 shows Shelving is probably used more than any other single interior
component for the storage and display of merchandise. Not only must the
merchandise be within reach anthropometrically, but it must be fairly visible as
well. The heights established must there fore be responsive to vertical grip reach
dimensions as well as to eye height. In establishing height limits, the body size
data of the smaller, departments may cater exclusively to members of one sex or
the other, two seats of data are presented. One is based on the body size of the
smaller female and the other on the body size of the smaller male. The suggested
height reflect a compromise between reach requirements and visibility
requirements.
22. In Cm
A 48 max. 121.9 max.
B 30 â 36 76.2 â 91.4
C 51 min. 129.5 min.
D 66 167.6
E 72 182.9
F 84 â 96 213.4 â
243.8
G 20 â 26 50.8 â 66.0
H 28 â 30 71.1 â 76.2
I 18 â 24 45.7 â 61.0
J 18 min. 45.7 min.
K 72 max. 182.9 max.
L 4 10.2
M 42 106.7
N 26 min. 66.0 min.
Figure 5
23. âą Figure 6 illustrates the clearances
involved in hanging type
merchandise cases. Hod heights
should be related not only to
human reach limitations, but in
certain cases to the size of the
merchandise displayed. There is
usually no conflict in respect to
garments.
25. â Once the brand has been established and the market for its
products is fully understood. An analysis of the retailerâs current
building stock or an investigation into finding a suitable site
begins. The brand guidelines for the interior demonstrate a
typical size of store for the implementation of the scheme.
The overall principles of the interior layout can be broken down
into four areas: the entrance, main circulation, pace and finally
sales in the form of displays, fixtures and payment areas.â
LAYOUT
26. ENTRANCE
ï± Exterior: façade, logo
ï± Threshold, transition
ï± Shop window
ï± Transparency
ï± Interaction
ï± Mystery, posters
ï± Display
The design of the entrance to a store
is very important. It needs to entice
the customer in and give a glimpse of
the products beyond the threshold. In
general though, it will be either a new
element-fitted as part of the overall
scheme or an existing element
preserved in its original form or
updated to meet building and
planning regularly updated to show
the latest products in store. Often,
the customer will also be able to see
past the window displays to the store
beyond, allowing transparency and
interaction. Sometimes the view is
blocked by displays, giving a feeling
of mystery and brining the customerâs
focus to the display.
27. ï±Entry area â starting point
ï±Open, spacious area
ï±Time to pause, feel, sense, experience
ï±Leisure, display, seating mail flow
Once beyond the threshold, the entrance space is the starting
point of the interior journey. It is an area of the store that is often
left open and spacious, giving the customer time to pause and
take in the store environment and to make way for people
entering and exiting the store comfortably. In larger stores, it is a
place to meet friends before or after shopping. Sometimes with
seating areas on the sides out of the main flow of traffic.
28. In most cases, the shop front/shop window is a draw to buyers to make
them feel comfortable when approaching the store and venturing over
the threshold.
For others, it is an opportunity to window-shop and aspire to buy into the
lifestyle on view.
In some instances, the shop front and entrance and designed to deter
the public from entering, with security on the door.
SHOP FRONT/SHOP WINDOW
30. The shop façade must first take on the essence of the
brand.
Done through graphic communication fascia signage,
a projecting sign, window details and lifestyle graphics
as part of the window displays; the materials from
which a new shop front is constructed, or how an
existing shop front can be adapted to meet the
design requirements; the merchandise in the window
and the brand message/slogan that is conveyed by
the design requirements; the merchandise in the
window display; and the position of the entrance door
and how this will be managed.
33. The Louis Philippe store design and interiors are based on inspiration from Heritage European
Architecture and living spaces. Each element of the store have different kind of furniture and
fixture, which ideally feels like some one who has the taste for art and architecture has collected
over a period of time. There are tables (Nesting tables with Vintage worn out look, which looks
like it is restored) used for rider section. Small lounge area with Library unit. This corner space of
the store was well utilized . This is just before entering trial room. This will help consumers to
spend time here reading coffee table books and few catalogues on brand
LOUIS PHILIPPE-Store at New Delhi, INDIA
35. IN CITY NEIGHBOURHOOD
The approach to shop front design will very depending on the site
location (building regulations) and the impact of the design of the
neighboring shop facades.
IN SHOPPING CENTER
In the case of shopping centers, neighboring retail outlets and arcades
will have to be considered.
Contract between the retailer and landlord to outline what can and can't
be done to the unit or building.
36. The traditional shop front
The design of the traditional shop front has a sense
of symmetry and is set out in proportion to the
existing buildingâs elevation. In most cases, unless
the brandâs design states it, it is unusual to put a
ânewâ traditional shop front into a site unless
required to do so for planning reasons or to suit the
design scheme of an arcade or shopping centre as a
replacement of an existing older shop front. If this is
the case, then restrictions may also be in place
regarding the application of signage and the colour
in which the shop front can be painted. In some
instances, a standard font, text size and colour may
be specified as well as the type of signage. Signage
may have to be painted onto the fascia rather than
applied on a fascia box, and a standard projecting
sign to match all others in the centre may be part of
the conditions.
The contemporary shop front
The design of the contemporary shop
front focuses on allowing light and visual
access right into the store from the
street. The look is clean, with glazing
reaching from floor to fascia panel, or
sometimes with the fascia situated
inside the glass, sat in a brushed
stainless steel frame. Sometimes the
glazing is frameless around the internal
elements. The signage is influenced by
the brand, using contemporary fonts and
ways of representing text. Illuminated
sign boxes are the normal application in
contrast to a traditional painted sign.
37. FASCIA
SHOP WINDOW
The sign above the window of a shop, where the shopâs name is written.
The front side of a store facing the street; usually contains display windows displaying
items for sale or otherwise designed to attract customers to the store. Usually, the
term refers to larger windows in the front façade of the shop. Display windows at
boutiques usually have dressed-up mannequins in them.
47. ARROW Store at Mumbai,
INDIA
ï” Occupying two floors of 3000sft in a modern
structure, the store interior has the vibe of a plush
gentlemanâs den and features a subtle blend of
contemporary style and mid-century elements.
Contemporary furniture, wall panels and framed
photographs heighten the sense of a kind of
homely hospitality. With the powerful integration
of visual identity, quality, fashion and
merchandising, the exclusive ARROW store has
been opened in a very prime location of Linking
Road, Mumbai. Occupying two floors of 3000sft
in a modern structure, the store interior has the
vibe of a plush gentlemanâs den and features a
subtle blend of contemporary style and mid-
century elements. Contemporary furniture, wall
panels and framed photographs heighten the
sense of a kind of homely hospitality.
49. ï” Designed by Restore Solutions, the store
brings alive the brandâs passion for shoes,
their obsession with quality and the
craftsmanship of an era bygone. RUOSH is
a brand apart in the sea of footwear
retailers, they work with fine and rare
leather, their products are handcrafted, a
brand obsessed with quality and worked
with designer in Italy to create
masterpieces. RUOSH, which means
âPassionâ in Sanskrit, is a brand that lived
by its name. Restore Solutions was given
the challenge of creating a store that will
resonate with the brandâs rich roots and
heritage and to create a new experience
for footwear shopper across the country.
The store design was inspired by the
values of reality, quality and respect. The
materials used to bring alive the store
have a lasting quality about them. Wood
is a material that has a timeless quality
about it. It is one of the few materials that
actually breathes, ages gracefully with
time and exudes certain warmth that is
unmatched.
ROUSE-Brand Store By Restore Solutions, INDIA
53. ï” CLIENT & BRAND BRIEF
KAZO â A high fashion premium Western Womenâs apparel brand from Delhi/NCR
looking at expanding their export business into Retail. The company has been in
exporting of western womenâs wear for many International Brands, ventured out
into retail business in the year 2005-06. The Brand mainly looks at High Fashion
affordable-premium womenâs wear in western category catering to the new age
Independent, working Indian woman.
ï”
The Brand also has accessories, foot wear etc. as a part of their portfolio apart
from Western Apparel and wanted to create the right store ambience for their
merchandise. Client brief is to design the retail space to merchandise its products
and offerings to its target customers through the quality, attitude oriented store
taking inspiration from west street scape. The changing demographics and
shopper behaviour of women in India with more than 55% of Urban Indian women
working, the requirement for fashion oriented apparel suiting their needs also plays
an important part of the retail land scape.
ï”
STORE INTERIOR DESIGN
Over all store interiors has been derived from the black and grey tones/hues. Shiny
black glass portals have been created to categories the product and styles.
Within this block further partition has been made into rough cement plastered
texture as a background to the product and shiny black glass panels for the
product back drop. SS Mirror polished fixtures carry the products in hanging and
starting mode.
KAZO Fashion Store at Bangalore, INDIA
54. BELL by Burdfifilek,
TORONTO
Rejuvenating the retail environment of one of
Canadaâs largest telecommunications service
providers, designers created a store that reflects
the approachable, clean line of the company
brand. An oversized backlit Bell logo along the
length of the store provides an instant visual
connection to the brand. The entire space is warm
with a color palette of blue, white, gray and black.
Behind the cash desk, a collage of floating white
cubes and smiling faces adds to the warmth. Crisp,
white Corian display surfaces allow for typically
black and silver products to pop. Fixtures are
flexible to change with the new products, and
touch-screen monitors with product information
beside products encourages an interactive
environment.
CONTEMPORARY
62. SHOP FRONT SIGNAGE
The design of shop front signage is often
governed by the location of the site and
any conditions applied by landlords,
centre management or planning. There
are a variety of options available for each
situation.. The retail designer will work
with a signage manufacturer to come up
with suitable manufacturer to come up
with suitable solutions. The main
signage types are fascia sign, projection
sign and window decals.
The design of the fascia sign may
appear varied on the high street,
but they commonly fall under one
of three types of signage; the
traditional panted sign as already
discussed; an illuminated box sign
that is constructed most
commonly in a âbiscuit-tinâ
formation, constructed from
aluminium with the logo or
lettering fret cut out of the face
and replaced with frosted acrylic
and, finally, a logo or letters that
have been fret cut out of a sheet
of aluminium or steel that are
then pegged off the fascia panel
and often illuminated from an
external source.
1. Fascia sign
2. Projecting sign
3. Window decals
ï§ Painted
ï§ Illuminated box
ï§ Fret-cut metal
69. ï±Visual identity â LOGO
ï±Colors
ï±Branding experience
ï±Up-to-date products
ï±Display, testing, sensing,
discussing
VISIUAL IDENTITY
Signage is an important element
of the entrance, used to navigate
customers to a correct
department or to clearly signpost
shop amenities. Lifestyle graphics
are also featured in the windows
and entrance for brand
enhancement.
The entrance is a key main area
for featuring new in-store
merchandise. This could be in the
form of a feature display, or a
promotional event including food
testing, free samples, make-overs
or sprays of perfume, for example.
70. ï±Human circulation and
pathways
ï±Circulation diagrams
ï±Routes, arrows, way of
communication And
interest
ï±Space division: areas
between products And
merchandising
CIRCULATION
One of the first tasks the retail designer faces
when the site has been decided is to work out
the circulation around the space, taking into
consideration the design guidelines and
principles of the scheme alongside the
structural nature of the interior. Circulation
diagrams are produced as ways of thinking
and describing different schemes to the
client. The diagrams are produced by looking
at the plans and sections of the interior and
drawing arrows and routes over the technical
drawings. The circulation plan is often drawn
in unison with an adjacency plan (often on
the same drawing). Which shows how the
areas of the space will be divided into
product, places to sell, space to browse and
ancillary areas. These drawings form the
starting point for planning the interior layout.
71. The circulation performs two main tasks in the retail scheme. The
first is to allow for the flow of people in the form of walkways.
These must be wide enough for at least two people to pass each
other comfortably, whether walking or in a wheelchair, or pushing
a pram. The second is to take the customer to the merchandise
and allow them ample space to browse without bumping into
other people or displays.
CIRCULATION
72. ï±Horizontally
ï±Vertically
ï±Spine â lead
ï±Circular
ï±Loop
ï±Zig â zag
ï±Free flow
The principles of circulation are quite simple and are
governed by the ways in which people move around
the space. There are many ways that this can happen
but each is based around a handful of solutions.
Circulation can work horizontally, allowing the
customer access through the shop front, with
products displayed either side of the walkway and
with an exit at the back; or vertically, with
merchandise displayed over more complicated in the
sense that stairs, lifts and escalators need to be
negotiated, and methods for enticing people on to
the upper floors must be considered. Circulation in
zig-zag or figure-of-eight fashion across the store
allows for points of interest to be included and
creates a longer journey and a variety of ways to
travel around the space. The circular pattern takes
customers from the front to the back and then to the
front again.
CIRCULATION
76. ï±Fixture and furniture:
low, high, mid floor
ï±Displays: customade
hooks and hangers
ï±Using interior walls:
fixed, hang
ï±Free standing: low
cabinets, shelves,
drawers, displays
Taking up a large part of the retail designerâs
remit is the design of fixture displays. Some
fixtures can be bought in a kit form and
either used directly in this state, or adjusted
with finishes to suit the interior design; other
fixtures are custom made. Custom-made
pieces work particularly well if the scheme is
to be rolled out; the cost of making the
fixtures becomes cheaper with larger
production quantities. For one-off stores, an
off-the-shelf system may be a better solution.
These elements, although not at the
forefront of the consumerâs experience, are
the vehicles that drive the interior scheme
and make the space function and sell
products. Products can be displayed in a
variety of interesting ways, nut can be
broken down into two different types: wall
display and mid-floor fixtures.
PRODUCT DISPLAY
82. AREAS IN A STORE
ï±Storage area for
products and stock
ï±Supporting rooms
for furniture, fixtures
and fittings repair
and storage
ï±Fitting areas
ï±âback of the houseâ
rooms for employees
These spaces consist of fitting rooms and
staff/customer consultation areas. These are
support areas, they do not necessarily contain
displayed stock. The design of these spaces is
just as important as that of the main displays.
Because they are used by the public they are
carefully considered in order that they work
alongside the branded interior in terms of finish
and graphics, and so that they convey a positive
image of the customer service.
The ancillary space refers to the area that is put
aside to house the functional elements of the
store, aside from selling. This area supports the
running and managing of the store on a daily
basis and provides essential areas for storage
and facilities for staff and is often referred to as
âback of houseâ. Public toilets are often
provided in larger retail stores and come under
the heading of âancillaryâ.
83. ï±âtry and experience
before buyâ
ï±Dividers, curtains,
doors, mirrors, lighting
and position of luminaires,
hooks, shelves, fixtures,
screens, seat, shop
assistant âŠ
ï±Space to catch the
breath
In fashion stores, fitting rooms are essential for
customers to âtry before they buyâ. There have
been some trends in fitting room design over
the years that are worth mentioning. High
street fashion stores once favored one big
open space for all with mirrors all around.
Some stores also had a small amount of very
tight cubicles with badly fitted curtains
alongside the open space, making the trying
on of clothes an uncomfortable experience for
many. Most now have separate spacious
cubicles for changing with mirrors on all sides, a
fixed seat, hooks for your own clothes and
bags and a solid lockable door for added
discretion.
The entrance into the fitting room can be a
key area to enhance the shopping
experience. In larger stores, this space
contains seating and sometimes even
entertainment for those who have to wait.
FITTING ROOMS
84. The point of sale marks the end of the journey
around the store and is the point at which a
customer will pay for goods. The location of the
point of sale is very important. In larger stores,
there will be access to till points in several
locations. Often relating to a department, one
in menâs wear and one in womenâs wear, for
example. In supermarkets, the till points are
usually located in front of the exit doors. This
allows for heavy traffic flow in a runway fashion
and indicates the end of the overall process. In
smaller stores, the till point or cash desk can be
located in a number of places: at the back of
the store, with a feature wall behind it so that it
can be seen from the shop front, halfway into the
store along a side wall, dividing the product
displayâ or at the front of the store, close to the
entrance and marking the end of the shopping
experience, Also.
ï± CASH DESK POSITION
These drawings depict
the various positions of
the cash desk and how
they sit alongside the
merchandise and work
with the circulation. The
design of the cash desk
coincides with the overall
design scheme. It is
often well lit and easy to
see from all around the
store.
POINT OF SALE
