Bring your toughest design problems!

will be showcasing many projects and explaining our services at the BL Business Expo on Friday June 2nd. Please Join us.

The BL Business Expo Event, in its 13 year, showcases the products and services of over 100 Northern Virginia exhibitors and sponsors. Please contact Gaddis Architect, at [email protected], 9730701-8800, for a complimentary entry voucher. Please stop by our booth to see our projects showcased and learn about how we can help solve many tough design problems and create high performing spaces. We look forward to meeting you there.

AGENDA

8:00 am : Doors open for Guests.

(The Exhibit Hall is open NON-STOP until the end – Seminars will take place in a separate Room)
8:15 am – 9:15 am:
Making LinkedIn work for Your BusinessSeminar
Jennifer Dalton, LinkedIn Specialist
9:30 am – 10:00 am:
Opening Ceremony
National Anthem, welcome address,Sponsors recognition, with Emcee:
-Angel Livas, Media Specialist
10:15 am – 11:45 am:
Protecting Your Business, An IT perspective Seminar
-Fred Haggerty, IT Specialist
12: 00 pm – 12:30 pm:
Everything that You Ever Needed To Open A Business,
But Were Afraid To Ask
Seminar
Gerald Geddes, CPA
12:45pm – 1:30 pm:
Break the Rules & Make more SalesSeminar
Nema Semnani, Sandler Training
1:45 pm – 2:00 pm:
Door Prizes & Farewell Remarks
(We have some serious door prize for you. You would want to be there to take them home.)
Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

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Wire Management is a Design Issue

The cash wrap in the photo above is in a medium high end fashion boutique in a trendy “New Urban” style shopping center with other similar competitors up and down the center. I noted the problem during a site visit I made to meet with the shop owner who was, at the time, planning a second store. Two years later, motivated by recent discussions in these “Insights” about the importance of integrating technology into a store design, I returned and took this photo. Needless to say, the problem was never addressed, neither did I ever work with this retailer.

I see mismanaged wires a lot, often in places that should, and do, know better. I listen to marketers go on about the importance of creating a shopping experience; of integrating technology into the store design; of carefully selecting technologies based on actual individual data driven market research, all the time wondering by what trickery retailers like those in the photos are able to make out that these much touted market strategies are somehow not germane to their particular retail environments. Further, I can only guess at the impact on sales – at least the place in the photo is still open – and I actually worry about the tripping hazards just waiting to happen. There is really no accounting for this when a solution is easily accomplished and not expensive.

Lest I be accused of “dis without fix,” I offer a solution here. First we are not talking store remodel or even new equipment. All that is required is some planning. Consider this cash wrap, a version of which was originally designed for a project, and which has since morphed into one of my “go to” opportunities to offer design variations on a functional theme. It is 5′ wide by 2′ deep by 3′ high at the work surface and 3’6″ high at the top of the display case. Close examination of the equipment housed in the unit will show that virtually every device housed in the badly wired cash wrap in first photo is accommodated in a compact cabinet. No wires show. The only connections are, as in the subject image above, power and data supplied by a floor outlet below the cabinet. Also, if necessary this fixture can be supplied with “knock outs” for power/data access from either side and it is on casters for mobility.

Clearly this is not a cheap piece of furniture, probably costing upwards of $1000 to build from scratch, yet when considered in terms of value added to the retail environment, it is not a lot to spend. Certainly, in terms of public safety and reduced liability it is a downright bargain. Neither is it necessary to build one of these from scratch. The rustic bench being used for the cash wrap above could easily and cheaply be remodeled by addition of an equally rustic back panel. We do this type of thing all the time.

Something else a retailer might want to consider when planning a store is that wireless technologies and newer devices are drastically reducing the amount of space needed. These are part of more than just cash wraps too. It is really important for a retailer to examine their options and choose their system(s) early. I cannot over emphasize the advantage of selecting and working with a qualified technology consultant who can help with system selection and provide a designer with device specifications including related sizes to be used in store planning and fixture design.

One more point worth noting, I see this problem show up in many showroom and public environments, not just retail stores. Because these are places where the public meets a business or organization they can, and do, impact a brand and may affect sales. I often work in these types of environments and likewise advise a client to carefully manage the wires.

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

HVAC: Accounting for stuff only the birds can see!

Old Hvac Unit
Old roof top HVAC unit scheduled to be replaced.

Necessary – What has this got to do with me? I am building a chic new retail store. I need to focus on the design, merchandise displays and retail image. Who sees this? I know – I know, the space must have functioning heat and air conditioning but, really, why do I need a structural engineer? I want to put my budget were it is visible to my customers.

Most commercial HVAC units will last 15 to 20 years. They probably cost over $10M each without any distribution and, in all but special circumstances, you cannot hope to have a functional commercial space without them. They are as basic as the walls, roof, plumbing, lights, etc. So when the HVAC company, landlord, or MEP engineer says it is time to replace you can be pretty sure they are correct.

Fundamental – Few would argue that it is completely fundamental for a tenant to understand who is responsible for the original installation, subsequent maintenance, repair and eventual replacement of the heating and air conditioning in a space. Neglecting to do this would be like moving into a space that might or might not have walls, yet I am often surprised by retailers who are unclear about, even disinterested in, these issues. Until something goes wrong that is.

Bar Joist
Bar joist hold up the roof and are common in retail environments.

Required – But I digress. My intention is not to outline heating and air conditioning systems common to small commercial projects, which is nicely done here. It is, rather, to explain why structural engineering is required for the installation of an HVAC unit. Consider this; all commercial HVAC systems have parts, many of which are large, heavy and sit on something, i.e., the roof. The unit in the photo, for example, weighs upward of 1,200 pounds. Now take a critical look at the structural framing system in the other photo, and ask yourself if it looks like it will be sufficient to hold up the concentrated load created by the installation of half a ton of equipment. In this case the structure is actually holding up the unit shown, so the answer happens to be yes – barely. I point this out because in many cases, especially in existing buildings without available structural drawings, common sense might lead one to ask if a new mechanical unit weighs the same as the one being replaced. Be aware that where common sense fails, the building code does not.

Structural load calculations and drawings which have been certified by an authorized professional are required before building departments will issue a permit allowing heavy equipment to be installed in, or on, a new or existing building. This, of course, includes mechanical, as well as other types of equipment. I mention the later as an aside for all you restaurant owners out there. Restaurant equipment is heavy and installing it in old buildings like those found in historic areas can create problems for unaware owners. Also, in the case of replacement equipment, it is less involved but still necessary to evaluate a new unit even if it weighs less than the old one. In the case under consideration, the replacement HVAC unit proved to be heavier than the existing, meaning it became necessary to provide structural reinforcement before the new unit could be installed.

Roof top image shows location of existing HVAC equipment.
Roof top image shows location of existing HVAC equipment.

How – So what steps were required? How did we arrive at this conclusion? First we had a contractor go up onto the roof and take photos of the exiting equipment, including a close up view of the label. This allowed the mechanical engineer to research the existing unit with the manufacturer who was able to provide a weight. A new unit was then specified according to the new design for the space. Efforts were made to avoid additional expense by matching the new unit with the old and installing it in the same location. Eventually it was determine that, although the location could be maintained, the replacement unit was going to be heavier than the old one. Had it weighed the same or less, the mechanical engineer would have so noted it on the drawings and been done.

Since this was not the case, it became necessary for the structural engineer to completed the process. He went to he site, analyzed the structural type, crawled up on a ladder, measured the bar joist, and checked the location of the existing equipment. Upon returning to his office, he went through a series of calculations to see if the structure was sufficient to accommodate the new unit. Since it was not he had to design and specify additional reinforcement adequate for the new equipment. This information was delivered in the form of signed and sealed drawings and calculations, along with certified architectural and MEP documents, to the building department with the permit application.

Why – The point of this discussion is to show those contemplating a commercial building project what a single line in a lease assigning responsibility for the heating and air conditioning equipment can indicate. In my experience all reputable landlords give full disclosure about the age and condition of the mechanical systems in their properties. Many provide substantial construction allowances for unit replacement and other improvements. Few, though, take into consideration the amount of engineering required in order to make the actual improvement. Professional services, Architectural, Mechanical, Electrical, Plumbing and Structural, are expensive and should be accounted for in the budget for a building project. I would suggest that forewarned is forearmed.

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

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Designing for Various Retail Environments

Recently Carrie Rossenfeld wrote and article for Globest.com dealing with current changes in the retail environment that are affecting how architects and designers approach a project. The title, The Changing Art of Designing Urban Retail Projects, is especially appropriate, not a little because retail store design is acknowledged as an art, but mostly because it offers a thought provoking comment on the current retail context near and dear to all of us working in the DC area; namely the shift from auto dominant to pedestrian dominant shopping. Anyone who visits this site knows that this is not the first time I have engaged this topic, it is though, the first time I am inspired to organize the various environments in which I work into a single picture as follows:

Past Trends

Urban Retail – This requires little description. It is Main street USA, whether in a big city or small. It is pedestrian dependent and spans American History from Colonial Willamsburg to Old Town Alexandria. It is an all inclusive spectrum of retail types and has become a model for current development.

Suburban Shopping Centers – Historically these followed suburban expansion after WWII supplying life’s necessities to newly mobile shoppers. A typical shopping center consisted of a grocery store, a drug store, some specialty retail, and a couple of out-lots. In time a big box was added, eventually becoming the force behind development until today we have acres of big box shopping centers. The type has come to include a range of retail offerings from outlet malls to ethnic centers merging into a sprawl-scape along major roads and axes, all depending on the car for shoppers.

 

Suburban Malls – These days almost relics, most of us have seen their rise and fall. The ones that are doing well are, some say, surviving because the others have failed. They are often in high income suburbs, connected with public transportation, draw international shoppers, boast multiple department stores, have expanded the types of anchor tenants they attract, and perhaps most important to this discussion, although dependent on the car for shoppers, the stores are designed according to a specialized pedestrian model. Local examples: Tysons Corner, Pentagon City.

 Present Trends

Mixed Use, also known as Emerging Urban, New Suburbanism, and the Mall Reborn (Don’t you love all the names?) – Of course, this is where the action is. From my standpoint – designing for individual retailers – it is where pedestrian vs. non pedestrian visibility collapses into complexity. David Kitchens, in the aforementioned article, drew attention to the challenges involved in designing for, and integrating multiple uses into a development project, telling us that “…residential, office or hospitality…needs to be intertwined with or added to existing retail..” The “repositioning” of Ballston Common and Landmark Mall were sited as local examples and in particular caught my attention because I have had inquiries from retail tenants being affected by the changes going on in these places. Architects and designers working in the mixed use environment must have confidence that they, together with stakeholders in the greater design environment, will produce a whole that is greater than the sum of the parts. They must be willing to release some control, to admit a bit of “chaos.” Kitchens put it well when he said it is about creating neighborhoods. As an independent design firm working on retail projects in many different environments, I get this better than most.

Future Trends?

Industrial/Commercial/Business Parks – Defined by the National Institute of Building Science, Light Industrial “… can include but is not limited to spaces for printing, commercial laundry, photographic film processing, vehicle repair garages, building maintenance shops, metal work, millwork,..cabinetry work…” Think specialized showrooms, i.e., kitchen, lumber, restaurant supplies, catering, swimming pools, motor cycle accessories (Really, I had one inquire). Think those moving from online sales toward brick n mortor. Think those responding to “showrooming.” Recent experience has lead me to believe that this is an overlooked retail environment and as such an opportunity. From a store design standpoint, diametrically opposite to the complexity of mixed use, their retail presence is straight forward, direct and dependent on the car for shoppers. It is a sector starting to see the value of investing in professionally designed retail showrooms.

Describing these retail environments has been a fun exercise but I didn’t do it just for fun? I did it to make a point about designing a retail store to increase sales. Few would argue that designing a retail store is involved with issues of shopper behavior, in particular how it can be influence by a store design. I have accumulated an ever multiplying list of “Strategies for Designing Your Space.” and do a presentation on the subject. The article that started this survey, on the other hand, is about the other side of the issue, specifically how shopper behavior is influenced by the environment in which a store finds itself. Of course, real estate people would sum this up as “location, location, location,” a subject that shows up in business plans and marketing activities all the time. If, though, we understand the ideas set out in the article, the issue is more complex, suggesting that the current trend is for there to be little or nothing spontaneous or random about the macro environments in which retailers find themselves. Also, I have often found that in the process of macro planning developers have let go of micro constraints typically found in places like leases and tenant handbooks. This can be deceiving, leading a retailer to overestimate their control of a project. In local terms this means that a space in a planned urban environment like the Mosaic Retail District is a lot different than a space in Georgetown or Old Town Alexandria or in a strip center or industrial complex as well. I would urge any retailer thinking about their store design to consider responding to both the macro and micro point of view. It is what has motivated me to summarize the several retail contexts listed in this post.

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

Retail store design is a language everyone can read.

2015-11-08 12.24.21Semiotics

Anyone who has ever seriously tried to design a logo for their business can tell you that it is not so easy, even for graphic designers who specialize in all things related to visual imaging. Certainly, any serious investigation will lead one to the subject of Semiotics, which might be defined as how meaning is created and communicated, or more simply the study of linguistic and non- linguistic signs. Without getting too technical, for this is a specialized academic discipline, it is worth noting that signs fall into three categories:

  1. Icons which are images of a thing itself, as in a picture of a dog and a real dog, or a map of a river and the actual river.
  2. Indexes which are relational where objects affect the sign, like fire (object) creates smoke (sign).
  3. Symbols which have neither similarities in appearance nor causal links, but are rather linked by conventional or cultural knowledge. In short the meaning can be quite arbitrary and is simply known, as in the group of letters that mean bus and an actual bus.

When considered in light of concerns about marketing and branding, ever present in the minds of most retailers, it is instructive to draw some parallels. First though, it is worth examining the terms which have been nicely summarized by Jacob Cass, graphic designer and author. He tells us a brand is “the perceived emotional corporate image as a whole;” an identity “is the visual aspects that form part of the overall brand;” and a logo “identifies a business in its simplest form via the use of a mark or icon. Knowing this, it is not difficult to understand the brand as the idea of a business. It is the semiotic meaning, or sign, expressed by the use of the icons, indexes, and symbols, all of which are visual or have a visual component, leading us to examine the visual image, AKA store design.

Visual Image

I am bringing this up because I think that architecture is semiotic, and more specifically, retail store design, which might be thought of and applied like a language. One that everyone can read. The Sherwin Williams Paint Store in the photo provides a clearly defined demonstration of these principles, and I must say that I spotted it at 50 MPH while rushing to an unrelated event in a Pennsylvania college town. The impact was direct, and completely comprehensible. I was late to my appointment because I turned the car around to get the photo. The symbol, of course, is the Sherwin William sign on the building. No doubt about who they are and what they are selling.

https://www.flickr.com/photos/telstar/151930908/in/photolist-4sjUaD-4ZMqA9-4ZHbKM-5uWtwt-cvvPYC-61K54M-8Vf3Zm-82hFSR-afWumj-eqFLq-9pkbo2-B6JH2-66dQ7oThe logo, not very big, relatively speaking, is both icon and index. When considered in the light of what we now know about semiotics it is complicated and communicates a lot of meaning using symbols in the form of company name and tag line; iconic images of the product, container, location; and an index demonstrating the application. It becomes a statement that says Sherwin Williams paints the world.

The “pièce de résistance” of the entire composition though, and a big part of the reason I stopped, is the larger than life paint sample cards installed as graphics in all of the storefront windows. According to our labels these probably qualify as icons but are also undeniably symbolic of everything we know about decorating and painting.

There is absolutely no question about the marketing message delivered by this storefront design, but there is another tactic operating here which has less to do with semiotics than it does with tried and true principals of good storefront design. It is what pushes this design into the stratosphere of marketing message delivery, and defines the point where graphics leave off and architecture begins. There is a basic rule that says, if you want a display element to be visible from a distance to both walk and drive by traffic, then it must be exaggerated. It must be bigger, brighter, more colorful than its surrounding. In this case the larger than life paint sample cards are the agent of a cohesive marketing message. The effect is magical.

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

What do you mean by “Feasibility Assessment?”

Now What?
Now What? How do I turn this in to a new store?

Contemplation – Imagine you are a retailer contemplating this tenant space. Clearly, you might be asking yourself; “now what?” Suppose a few of the questions below move from unconscious reflection to conscious contemplation without ensuing answers, then assessing a project to see what is actually required could facilitate the decision making process and provide many benefits.

Resources – Landlord provided documents, previous project cost summaries, consultations with building departments, contractors, engineers and sometimes professional construction estimators are all resources informing project feasibility. The intent is to simplify, consolidate and summarize the probable scope of work, professional fees, construction costs and time that might be anticipated for a project. It is the purpose of a feasibility assessment and a highly recommended means of beginning most retail projects.

  • Do I need to build the walls?
  • Do I need to build the bathroom(s)
  • Why do I need 2 bathrooms?
  • Why do I need 2 entries?
  • Do I need to install the storefront system?
  • Can I use my own storefront design?
  • Do I need to have my own electric meter installed?
  • Do I need to install my own Air Conditioning and heating system?
  • What is the best mechanical system to use?
  • Is there water in the space?
  • What about hot water?
  • What about gas?
  • Where is the sewer?
  • How do I connect to it?
  • Will my store fit in this space?
  • Must I supply my own storefront sign?
  • Who will design it?
  • Can I design the store myself?
  • Can I turn a logo into a store design?
  • Where do I get the store fixtures?
  • What if I can’t find the exact fixtures that I need to display my products?
  • Are custom store fixtures required, if so who will design them?
  • What about lighting?
  • Who sets up the Point of Sale (POS) system and how do I hide the wires?
  • How do I accommodate the cabling and hard wiring for my computers?
  • How much can I expect to spend for all this?
  • A contractor told me he could build my store for $45/sq. ft. Should I believe him?
  • Do I need a building permit?
  • What does an architect charge?
  • Can I get this done in time to open before I must begin paying rent?
  • How do a pick a contractor?
  • Is the construction allowance from the landlord enough to build the store?
  • Does the location have enough parking?
  • What is the visibility from walk and drive by traffic?
  • Is this space a good choice for my project?
  • If I don’t take this space do I need to start all over with a new feasibility for a different location?

Please feel free start a discussion here and maybe even see some answers.

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

Retail Architect takes on karma.

Marcela's Yoga BoutiqueMarcel’s Yoga Boutique,

has turned out to be one of our most sophisticated designs. Recently completed, it was featured in the Old Town Crier, and we were also happy to answer some questions posed by Cindy Laidlaw, Principal of Laidlaw Group, the marketing communications firm who does the blog for the company who manufactures the shelving system. The content is especially informative for anyone thinking about a new retail project so I am posting some of it here along with links to the articles.

Question: Where and when did the idea for the studio start? Answer: Marcela came to me on the recommendation the local Small Business Development Center. As it turned out, my office is exactly across the street from her shop. Talk about Karma?

Question: What is your background? Answer: This is the bio that I use in many blog post. Bridget Gaddis, is a Licensed Architect and LEED-Accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and has a comprehensive background in commercial retail design, planning and construction.

Question: What was the vision of the project? Answer: Marcela had a vision that centered around the lotus flower. It is part of her logo and where we started to design. I liked the water element inherent in the lotus environment and aimed at suggesting this by the use of curved glass shelves as a feature in the shop. There is a mystique attached to the idea of yoga and one way of visually representing the calm is with open space – not so easy in a tiny shop. By merchandising mainly the walls we were able to define really nice site lines that terminate in beautiful merchandise displays while at the same time maintaining the “karma” of open space.

Question: What inspired the design? Answer: The lotus flower.

Question: In addition to Rakks, what other materials were used? Answer: We used a rustic piece of wood, with the shape of the tree still in its profile, to anchor and complete the feature wall. The effect is very organic.

Question: How long did the project take? Answer: It took about 4 months.

Question: What were the installation challenges of the space? Answer: The building is old and the exterior walls are plaster directly on furred out brick. They were totally out of plumb, to the extent that, in order to use the wall mounted Rakks standards, we had to build a drywall stand out in front of the existing wall.

Question: What is the history of the building? Answer: The building is in the historic district of Old Town Alexandria, VA.

Question: Where can I find out more about the products on display? Answer: Marcela’s Yoga Boutique

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.

Retail Architect: billboards store design

Retail architect are always looking at design features that can make a store stand out, or differentiate, from its neighbors in the mall scape, leading to a design idea that I may, or may not, have mentioned previously; namely mall storefronts are being treated like billboards. Compare, for example, the type of merchandising that is going on in the Aldo store with that of the Buy Paris Collection below. On a practical level this may not be a very fair comparison as Aldo has rallied all of its substantial store planning resources around supporting and marketing their brand, while the shop in the Paris airport is marketing multiple brands, probably with considerably less resources. That said, this discussion is academic and I am using the contrast between the two shops to demonstrate a design technique.

Clearly, Aldo has used every inch of wall space to deliver a marketing message about their product. It is a message being delivered to virtually every potential shopper with a view of the store no matter where that shopper happens to be located. The desire to accomplish this is nothing new. The installation of billboard size images on every available inch of visible wall, on the other hand, is a fairly new trend. I expect it is only a matter of time before the message, actually creeps onto the ceiling, and I am sure examples of exactly this can easily be found.

By comparison, the Buy Paris Collection casts its marketing net into a much smaller visual pond simply by dint of scale. Certainly good design practice is employed. The high contrast between the white illuminated sign on the black background along with the brightly colored banner are attention grabbing features. The interior signage, illuminated graphics and nicely displayed merchandise all follow the store planning rules, leading me to ask; is one of these techniques more effective that the other?

The question is one of relevance. The retail environment, always competitive, is ever more so now. Pressured on one side by online competition and the other by indirect competitors for the attention of the same customer base, retailers are feeling compelled to enter the context of entertainment shopping. It is a fluid environment where relevance is everything.

Bridget Gaddis, is a Licensed Architect and LEED-accredited Professional practicing nationally, and locally in the Washington DC area. She holds professional degrees in both Architecture and Interior Design, and with a comprehensive background in commercial retail design, planning and construction has completed projects for such for such well known brands as Chloe, Zegna, and Bvlgari. Her career began in tenant coordination and site planning for two well-known Cleveland developers, followed by six years in store planning for a national retailer. After a move to New York City in 1997, she spent the next years working for architecture firms specializing in retail projects. In 2011 she started her own practice in Alexandria, VA. Ms. Gaddis is the author of two blogs dealing with architectural subjects.