Setting up the point of sale

Always considered a place of commerce, the city has hosted workshops and emporiums since its origins. The point of sale, in fact, boasts very ancient origins: the artisans' workshops were born as places where production and at the same time direct sales took place. They were presented as small spaces that included production and commercial activities in a single space. It is only later that we see a functional subdivision between the workshop, accessible only to the artisan, and the place of sale intended for the public, in front and overlooking the street.

During the 19th century, the spread of industrialization caused a functional change of the old shop, declining it exclusively as a place of sale, where the finished product usually came from detached production spaces. In this period, the “passages couverts” of Paris found their maximum development, covered galleries, with a strong identity, which housed shops and cafés. These were sheltered and intimate places where lights, signs and shop windows were the protagonists and where people met to greet each other and socialize.
All the passages were made of a metal structure and a glass casing that allowed light to filter through during the day. Floors, lamps and finishes were chosen according to the taste of the time, in order to convey the feeling of being in familiar places. The longitudinal distribution of the shops on both sides guaranteed the free carrying out of long walks and the vision of the countless goods on display.

Each shop was structured according to its size and specific needs, while the layout depended strictly on the type of goods displayed and marketed. For example, in the case of food, these were stored inside closed and inaccessible display cases for hygienic reasons, while the shops selling fabrics and precious accessories had display spaces that were designed down to the smallest detail. For this reason, the layout and finishing choices changed according to the nature of the goods, the message that was intended to be conveyed and the public to whom they were addressed.

The desire to combine free time with shopping and socializing proved to be of fundamental importance for the success of the passages, which enjoyed great success until the end of the 19th century with the advent of the Department Stores. The places that house them are large, sometimes spread over several floors and the shops are located in buildings constructed specifically for this purpose. These are areas where the public is free to move around, observe and touch the products on display in large quantities.

The type of experience for the customer and also his relationship with the seller changes: the furnishing accessories intended to physically divide the functions of purchase and sale are now absent. The surface, the organization and the layout change and together with it the human relationship changes. The space of the goods acquires a new function that is based on the triple relationship commercial building – city and consumer – room. Every architectural and commercial choice must emphasize the goods and their purpose, inducing the consumer to purchase. The study of the lights and the free circulation inside the warehouse are the elements that determine the quality level of the design. The progressive evolution of the Department Stores leads to the spread of Shopping Centers, introduced in the 20s.

Interior design plays a crucial role in achieving optimal results, as we often find ourselves faced with warehouses and large standardized complexes. These are very complex complexes that house different functional areas: supermarkets, shops, services, rest areas and entertainment areas.

It is the place of meeting and aggregation par excellence, where different functions merge and where shopping becomes one of the many activities that can be carried out there. For this reason, it is necessary to dedicate maximum care in the design of the layout of each individual store, making good use of marketing and brand promotion.

The setting plays a fundamental role, in addition to hosting the products it must amaze the visitor and push him to buy. The dizzying development of industrial production, the change in family habits and the possibility of reaching these commercial containers by car, even in peripheral areas, change the concept of purchasing and the place where it takes place.

Design choices are shaped by the changing social model and the layout is interpreted as a means of communication capable of increasing the value of the product. Thanks to this concept, during the 80s, the first Concept Stores were introduced, where everything was designed in line with the brand on sale. It is from this moment that the design takes on the term retail design and is characterized by the multidisciplinary nature of the figures who work on it. The project becomes communication, loyalty, involvement, technology and must be distinguished according to the brand and the target to which it is addressed.

The set-up and its relationship with market demand

Over the centuries, the public's approach to the commercial market and the physical spaces associated with it has changed significantly. In fact, if once the objective was to satisfy primary needs by gaining the consumer's trust through the quality of the product, today the situation is very different. The tendency is to satisfy an attentive public with secondary needs and in search of satisfying consumer experiences. Added to this scenario is the emotional, emotional and active aspect of the user. From a design point of view, specific objectives correspond to a certain type of installation that has undergone major transformations over time.
It is possible to trace a sort of development in stages that followed one another in three successive twenty-year periods and which saw the project evolve in the following way:

• 1950 – 1970 > PRODUCT ORIENTED

Tendency to place the product at the centre of the project
Objective: to satisfy primary needs
The layout is free of experiential paths, allowing the user to move freely

• 1970 – 1990 > BRAND ORIENTED

Tendency to place the brand at the center of the project
Objective: to satisfy secondary needs
Installation conceived as an immersive space capable of providing a 360° experience to the public. Through the spectacularization of the goods and the correspondence between the image of the point of sale and the identity of the brand, the consumer lives an experience thanks to the contact with the specific brand

• 1990 > USER ORIENTED

Tendency to place the public and its perception of the environment at the centre of the project
Objective: create new experiences and transform the user from consumer to consum-actor
A display designed down to the smallest detail to create a vision of the brand. The exhibition space becomes one with the product on display

The idea that the potential of the product must be maximized through the layout inside the point of sale, which constitutes a direct channel of communication and marketing for the brand and the manufacturing company, is becoming more and more widespread. For this reason, the layout becomes an identity and must be able to provide an experience for the customer. The approach to the project now includes countless disciplines that have as their main purpose the well-being of the buyer and that require the contribution of different figures who collaborate with the architect. The graphic designer is responsible for returning the correct corporate image, the visual merchandiser assembles the layout according to the architect's instructions, in compliance with the company values, the light designer is prepared to ensure the correct lighting comfort. The project team must work in order to ensure the involvement of the visitor through a specific and identifying image of the brand. Furthermore, the goods and their display must be taken care of, ensuring ease of management and regulatory safety.

The project of the point of sale

Starting from the early stages of the concept, the architect must study the physical space and design the merchandise displays, taking into account some essential aspects for the success of the project. One of the most important factors is represented by ergonomics which, through the study of the correct proportions between the human body and the designed space, ensures accessibility for all. Another fundamental aspect is represented by the safety that must be guaranteed to all those who frequent the point of sale. To this end, it is necessary that there is an in-depth study of the probable paths and movements of the staff and the public with respect to the designed space.

The work carried out by clerks and collaborators must ensure the free performance of the usual activities: between one display and another there must be an adequate distance to flow comfortably, the shelves must respect human proportions and not be too high or too low so as to ensure the simple arrangement of the goods. Furthermore, each piece of furniture must be designed and chosen based on the function it will perform. For example, while a counter used to display clothing must have a useful depth for this purpose and be accessible to the customer, the floor that will house the cash register must guarantee safety and inaccessibility by the public in order to prevent theft and suspicious actions.

Usually, the store is divided into a purely exhibition and sales area open to the public and a service area accessible only to staff. The first includes the customer entrance, the area set up and intended for displaying products, the service areas made available to the public (fitting rooms, mirrors, etc.) and the area intended for payment of goods equipped with a support surface for the cash register. As for the second section that is part of the point of sale, it is an area reserved for store employees that includes the warehouses, the loading and unloading area and the logistics offices. In the external part and adjacent to the store, two important elements are located that are indispensable for attracting potential customers: the sign and the window.

As for the sign, it must be studied according to the flows of people and positioned correctly in order to be readable. This component constitutes an evocative element of the brand image and is often found illuminated in order to indicate the presence of the point of sale even in the evening and night hours. The system can include neon lights positioned and chosen to backlight it, to create silhouettes on the trace of the font belonging to the brand's own logo or simply to point the light on the sign.

Likewise, the window must be visible, must ensure cleanliness and guarantee safety by choosing shatterproof glass. Furthermore, depending on the location and building that houses the shop, the window must respect its characteristics: in the case of old shops it is often located in a set back or elevated position, while in modern buildings such as shopping centers there is much more design freedom. Here it will be possible to place it inside the shop, highlighting its position through plays of light and reflective panels, they can be equipped with portals designed to amaze or interactive frames chosen to attract as many potential customers as possible.

The window display also differs depending on the size of the store: in the case of very large areas it can be in the “closed” form and independent from the internal spaces of which it provides a preview. In the case of boutiques and small shops, the window display will constitute a continuum between the internal and external space. In any case, it is the business card of every commercial reality and for this reason it must be chosen and designed according to the particular context in which it is located.

From an organizational point of view, each space is designed to be functional and aesthetically appealing: what matters is to involve the customer and not bore him. To this end, the paths within the set up space must include attractive poles and stops that ensure the visitor a pleasant experience. The service areas that include the dressing rooms must be clearly visible and the dimensions of each cabin must respect the ergonomic and functional needs of the user.

The minimum dimensions correspond to approximately 1,80 mXNUMX for each changing room. In addition, it is good to ensure lighting, acoustic and thermal comfort, through the use of systems compliant with the law. The general rule establishes that an overall project conducted according to criteria and attentive to the needs of the public will encourage the latter to return to the store more often, otherwise it is necessary to intervene promptly for the optimal continuation of the activity.

Retail design

Once the functional areas, the paths and the integrity of the systems have been studied, it is necessary to choose the best furnishings and display equipment, distinguishing between areas with fixed layouts and flexible and interchangeable areas. The former contribute to the identity of the point of sale, transmitting the values ​​of safety and stability, while the latter stimulate creativity and wonder in the visitor. The latter are designed to reinvent themselves periodically and shape themselves according to the needs of the moment.

The furnishings are therefore divided into two categories: fixed and mobile. The first are incorporated into the structures of the shop, designed to remain unchanged, the second instead are made up of individual pieces that can be moved or replaced depending on the need. Furthermore, the furnishings can be designed ad hoc, according to the craftsmanship and tailor-made based on the characteristics of the place and the environment in which they are inserted, or they can be chosen standardized, at a lower cost and adaptable anywhere. The components of the setup designed for shops are innumerable: panels, shelves, cubes, windows, counters, floor and ceiling displays, baskets, mannequins, are just some of the essential elements for a complete project. At the basis of each type of choice, each piece of furniture must be equipped with dimensions suitable for ensuring comfortable viewing that is accessible to the public and that is aesthetically pleasing.

Visual merchandising studies these aspects using the design of displays, lights, colors and graphics in order to make the environment comfortable and measured on the target and the brand. As for the display area, the walls that will accommodate the products to be sold will have a maximum height of 2,10 m and can be visible from variable distances.

If the display is intended to attract customers, the walls will be visible from afar, sometimes even from outside the store. These are projects aimed at spectacularizing the goods. If the items are very small and detailed, a wall that encourages the customer to approach it will be preferable.

Display walls can be continuous with identical shelves, consisting of alternating low and high shelves or made up of full (drawers for restocking products) and empty (shelves with the goods on display). If the products on sale have a particular value, they can be enclosed inside display cases that can only be opened by staff. These components have a horizontal or vertical distribution or are placed above display counters or used as a support surface in the cash register area. Sometimes furnishings are designed with the most diverse shapes with a glass shelf above, inside which new or higher value products are displayed: an example of this are the display tables placed in the center of large stores.

The choice of furniture for display presupposes good functionality and aesthetics suited to the context, the type of goods and the brand. For this purpose, display systems must present the product in the best possible way and attract the customer, they must always be up-to-date and guarantee a certain flexibility in terms of setting. In fact, the set-up must be taken care of according to the period of the year through the rotation of the products and the appropriate decorative system.

Another aspect of fundamental importance is represented by the lighting of the point of sale: the correct design is in fact a basic prerogative to involve the potential buyer and guarantee him the optimal level of comfort. It is necessary to specify how it is developed on three levels: ambient lighting, path lighting and accent lighting.

The first type is necessary to illuminate the environment in its entirety, without creating annoying shadows or neglecting part of the point of sale. Usually, devices equipped with light from above are used to illuminate floors and walls. Path lighting, on the other hand, is designed to delimit and define the contours useful for visiting the point of sale according to specific routes. Sometimes, when the aim is of a scenographic nature, recessed spotlights or floor lights are used to create a particular atmosphere and trace "ideal paths". This type is very important for the purposes of marketing the product because the study of the position of the lights can direct the visitor to specific sales areas. Finally, accent lighting is inserted with the aim of enhancing details and products compared to the rest of the environment.

What is of primary importance is the ability to correctly balance the three levels of lighting so as to recreate a pleasant location, where the purpose of the lighting project is to provide the correct level of light, but also to communicate and transmit particular messages to the public. To this end, it is necessary to consider the temperature of the light (3000 k – 4000 k) distinguished according to the type of goods on sale: warm light will be perfect for clothing, toy and household goods shops while cold light is essential for jewelry shops and pharmacies where a more “technical” type of lighting is required.

It is important to specify that today, the physical store must sustain the ruthless competition of e-commerce and to do this it is necessary that it is able to provide real purchasing experiences where light plays a fundamental role.
The layout must involve and impress the visitor through the use of backlit elements, holographic panels and new technologies. The store becomes a point of reference for customers because it is designed on the needs of specific targets: the entire project is defined based on the type of product and its recipients who, upon entering the store, recognize themselves and feel at home.

The best material choices

As for the choice of materials, the project concerning the point of sale must pay particular attention to this, since these are environments subject to continuous stress over time. For this reason, it is good to choose materials that are resistant and long-lasting, with finishes corresponding to the company image and that can ensure optimal comfort for the customer and the staff who work inside the commercial spaces.

The flooring

Store floors must be easy to maintain in order to always be clean and pleasing to the eye, as well as safe and accessible to all. There are countless fibers available on the market that are suitable for this use and the choice is usually influenced by the style and corporate characteristics of the store. However, there are some materials that are most commonly used: laminate, resin and stoneware. The first is made up of a layering of composite filaments that aesthetically tend to imitate natural wood and a surface layer that makes it waterproof. Its low cost and high resistance are its strong points.

Resin, on the other hand, is used mainly in large shops and can be laid over pre-existing floors. It adapts to any type of environment but in more detailed processes the cost is higher. Finally, stoneware is the universal material par excellence: thanks to innovative treatments, it is able to restore the aesthetics of many natural fibers offering greater durability over time at a lower price. In order to recreate a warm and welcoming environment, the wood effect will be perfect: with or without veins; it is similar to the original material but can be washed more frequently and resists constant trampling.

If you want a more modern atmosphere, a resin or concrete effect will be preferable, which, thanks to the uniform installation, will guarantee perfect spatial continuity. The walls also play an important role inside the store: usually the color and material choices are made consistently with the company image and aimed at ensuring psycho-physical well-being. Innovative materials and modern technologies are increasingly widespread inside stores to keep up with the times and counter the competition of e-commerce.

However, today the opposite trend is taking hold, to use ecological and sustainable solutions, aimed at protecting the environment, which is now in serious danger. For this reason, it is increasingly easy to observe, inside showrooms or temporary shops, installations designed to be aesthetically appealing but designed with a particular focus on sustainability. An emblematic example of this is the Stella McCartney flagship store in London, which in 2018 earned the title of the most sustainable store in the world. In line with the corporate values ​​of the fashion house, which has been fighting for the environmental cause for years by using only natural and regenerated fabrics, all the furniture and installation is made of recycled materials, vintage elements and biodegradable mannequins. Furthermore, a low-consumption air filtration system guarantees clean air inside the store, purified from external pollutants.

To date, this example is one of the few realized but destined for a considerable rise in the world of retail, with the hope of making a public more aware, too often inattentive, with respect to issues of fundamental importance at a global level.

Types of point of sale

In the creation of the point of sale, in the preliminary phase it is necessary to define its typology so as to understand what the optimal choices are in terms of size, layout and communication. The first major distinction concerns the duration of the store: there are permanent stores and temporary stores.

Permanent stores

Since the 80s, with the change in the consumer-product relationship, the tendency to create places of sale and experimentation has spread and concept stores and flagship stores are emblematic examples of this.

Concept Store

This is a point of sale that can be of interest to one or more brands and for this reason it is intended for a varied target. From a physical point of view, the store is cared for in every detail and designed to amaze and spoil the customer who thus becomes an active protagonist of the environment. Inside the concept store, you can find service spaces that offer activities diversified from the simple sale of the product (restaurants, bars, bookstores).

Flagship Store

It is a single-brand store aimed at a medium-high target. It is often located in central urban areas and is the physical symbol of the brand; sometimes it is used as a center of attraction capable of generating new flows and attracting tourists. Characterized by large dimensions, it is easily identifiable thanks to the eye-catching sign and the coordinated image of the brand that constitutes an element of strong identity. This type is the most popular today, aimed at influencing and retaining the customer. It is inside that new technologies are used to streamline the sales process and give the customer an experience.

Temporary shops

As can be deduced from their name, these are points of sale that have a variable duration and usually do not exceed two months. The purposes of these stores can be diversified beyond the sole sale: launching a collection, the rise of an emerging brand, selling off a brand in the process of bankruptcy. Furthermore, the purpose of these commercial realities is to arise without warning within the urban scenario in order to pleasantly surprise users. The physical spaces are very flexible and the layout is designed to satisfy particular and changing needs over time, for this reason they are light structures with easy assembly.

Since the focus of this typology is on the social experience and the sensations felt during the event, the material aspect (architectural and structural) has a secondary importance compared to the emotional sphere. Having spread since 2000, today there are many typologies belonging to this category: temporary store, shop sharing, guerrilla store, pop-up store and wheel-shop. Each typology is distinguished by physical characteristics, duration, staff and marketing strategy; for example, the temporary has a limited duration, the pop-up shop and the guerrilla store remain open until the goods run out, while the shop-sharing and the wheel shop have a short duration, only one day. Let's briefly see what each consists of:

• Temporary stores > point of sale with limited and pre-established duration
• Shop sharing > point of sale shared between brands and for a limited period of time
• Guerrilla Store > new and unexpected point of sale that amazes users
• Pop-up store > temporary point of sale of limited edition products, associated with an event
• Wheel shop > concept of a mobile point of sale, not within a physical space with a short duration

Whether it is a permanent or temporary store, during the preliminary phase of the project it is always necessary to carry out an accurate market analysis aimed at identifying the target audience and the competitors present. Each typological decision must be crucial to ensure functionality in terms of usability of the spaces by the user, in compliance with the specific brand. Furthermore, the choice of the layout and materials must reflect the company values ​​and, by extension, those of the loyal customer. The design process of the point of sale today no longer has the sole purpose of inducing purchases through attractive layouts but must accompany the customer on a real experiential journey.

Smart retail: the stores of the future

The physical and conceptual development of the store has brought about numerous changes considered a direct reflection of an increasingly demanding and up-to-date user base. From the ancient artisan workshops where the layout was almost completely neglected in favor of production equipment, we moved to a period in which the spectacularization of goods found its founding value in the display. Subsequently, the store went through alternating phases in which more or less importance was given to the furnishing project and display of the products for sale, up to the present day in which the customer experience requires captivating and engaging layouts. Starting from the 20th century, innovative technologies have greatly modified the physical space of stores that have had to compete increasingly with the world of e-commerce.

The importance of customer service is increasingly greater at the expense of the product and its real quality. For this reason, if once you physically went to commercial spaces where you had direct contact with the product and observed the ad hoc installations, today and in the future the practice of online purchasing will be increasingly widespread.

This scenario marks the crisis of the physical store. In the near future, purchases will be made online while the old store will only serve the function of picking up goods. Customer service, which is now reserved for clerks, will be replaced by mechanical voices able to recommend the choice of products and clothes through information totems or multifunctional mirrors able to model the outfit on the silhouette of the person reflected. Functional areas and the furniture designed for them will be absent in favor of continuous and standardized spaces where the cash registers will be absent because the payment has already been made online.

You may witness phenomena of:

• Progressive dematerialization of the physical place
• Standardized set-up and loss of design value
• Decreasing customization
• Fast and automatic purchase of goods
• Online and offline fusion

If on the one hand advanced technology and progress facilitate and speed up the sales process, on the other hand they deprive it of important values ​​such as human relationships, direct contact with the product and the ability to choose according to personal criteria. The risk is that of an excessive automation of human actions and of an unconscious alienation caused by the uncontrollable vortex of the virtual world where design loses its most intrinsic value.

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