Brand—Space

Brand
I
Space

II

I

II

III
Brand—Space
The impact of branding
on physical space and the
importance of creating
an experience.
By Craig Norwood

IV
© Craig Norwood 2017
All rights reserved. References have been made
in the Harvard style for Ulster University Belfast
School of Art, and have been completed in their
fullest to the best of my knowledge.
Printed by McGowan's Print
Heron Rd, Belfast BT3 9LE
Design by Craig Norwood
Typeset in Adelle, Lapture and Neuzeit Grotesk
www.craignorwood.net
craig@craignorwood.net

V
Abstract
Branded space, in the form of shops, museums,
cafés and restaurants have an effect on us
everyday. This study will look at the impact
of physical space – how it can influence us,
how it shapes our perceptions of brands
and places. Looking at the importance of
creating an experience for people to enable
these interactions between brand and space.
There has been a massive shift in branding
in recent decades, with the introduction of
new technologies; we now live in a digital and
online landscape. However, physical space still
comes out on top when brands look to increase
audience or popularity. Whether through
exhibitions, pop-up stores or through layout
and merchandising; brand extensions and
brand democratisation are at the very centre
of these scenarios.
For example 20% of people in the UK since
2014 now visit a coffee shop daily, up from 11%
in 2009 – are people seeking more social
environments that they aren’t getting from
spending so much time online? What can be
done to add emotional and sensory appeal that
makes it experiential? With case studies from
around the world and interviews from designers
and an architect, we explore these themes
in detail: Rethinking retail, creating engaging
and interactive environments and how to
adapt and be flexible.

VI
Acknowledgements
This has been a project spanning over four months,
I’d like to thank my tutors Jill Spratt and Ruth Brolly
for their teaching, support, and advice on writing
and designing this dissertation.
Many thanks to my interviewees, Architect,
Gerry Hamill for all his advice and input.
Chris Killeen and John McDermott for their
branding and design input and for their
inspiration before this project even started.
Thanks to Lauren at Checkland Kindleysides
for kindly providing the images used to show
their projects.
Final thanks to the owners of other photography
that have granted permission to use their images.

VII
Contents
00— 01— 02—
List of Illustrations
VIII-X
SECTION THREE
Perceptions of Place
10-13
SECTION SIX
Case Studies
22-39
SECTION ONE
Introduction
1-3
03— 04— 05—
SECTION FOUR
Branded Place
14-17
06— 07— 08—
SECTION SEVEN
Conclusion
40-41
SECTION TWO
Branding
4-9
SECTION FIVE
Experience of Place
18-21
Appendix
& Bibliography
42-52

VIII
List of Illustrations
Figure
Page
2.1
2.2
2.3
3.1
3.2
4.1
4.2
5.1
5.2
6.1
6.2
Brandbrew S.A. (1876). Bass Logo Trademark. Available at:
https://www.ipo.gov.uk/tmcase/Results/1/UK00000000001?legacySearch=False
Saatchi & Saatchi. (2004). Lovemarks. Available at: http://www.lovemarks.
com/learn/about/ [Redrawn by Norwood, C. 2016]
Shannon, C. (1948). Mathematical Theory of Communication. In Graphic
Design Theory. Davis, M.(.J.). (2012) . London: Thames & Hudson. Pp.16
[Redrawn by Norwood, C. 2016]
Williams, A. (2015). Whitworth Museum Outside. In Creative Review,
July 2016, Vol.36 Issue 7 pp.62-67
Williams, A. (2015). Whitworth Museum Inside. In Creative Review,
July 2016, Vol.36 Issue 7 pp.62-67
Dawood, S. (2016) Dyson Concept Store. Available at: https://www.
designweek.co.uk/issues/4-10-july-2016/dyson-brings-engineering-life-newlondon-store/
Starbucks (2016) Available at: https://news.starbucks.com/multimedia/
file/11088
Norwood, C. (2016) Starbucks Headlines. Available at: https://www.
designweek.co.uk/?s=starbucks
Checkland Kindleysides (2016) Levi's London Flagship Store. Available at:
http://checklandkindleysides.com/work/levis
Checkland Kindleysides (2016) Levi's Changing Rooms. Available at: http://
checklandkindleysides.com/work/levis
5
7
9
13
13
16
17
20
21
24
25

IX
Figure
Page
6.3
6.4
6.5
6.6
6.7
6.8
6.9
6.10
6.11
6.12
Checkland Kindleysides (2016) Levi's Shop Floor. Available at: http://
checklandkindleysides.com/work/levis
Checkland Kindleysides (2016) Hunter Regent Street, London. Available at:
http://checklandkindleysides.com/work/hunter
Checkland Kindleysides (2016) Hunter ‘Soundscapes’. Available at: http://
checklandkindleysides.com/work/hunter
Checkland Kindleysides (2016) Hunter Regent Street, London. Available at:
http://checklandkindleysides.com/work/hunter
Checkland Kindleysides (2016) Hunter Ginza, Japan. Available at: http://
checklandkindleysides.com/work/hunter
Checkland Kindleysides (2016) Sony PlayStation Event. Available at: http://
checklandkindleysides.com/work/sony-playstation
Checkland Kindleysides (2016) Sony PlayStation Event. Available at: http://
checklandkindleysides.com/work/sony-playstation
Checkland Kindleysides (2016) Gran Turismo Driving Pod. Available at:
http://checklandkindleysides.com/work/sony-playstation
BAS (2015) Systembolaget Store. Available at: http://basid.se/case/
systembolaget/
BAS (2015) Systembolaget Display. Available at: http://basid.se/case/
systembolaget/
25
26
26
27
27
28
28
29
31
32

X
Figure
Page
6.13
6.14
6.15
6.16
6.17
6.18
6.19
6.20
6.21
6.22
6.23
6.24
BAS (2015) Systembolaget Infographic Labels. Available at: http://basid.se/
case/systembolaget/
BAS (2011) Clas Ohlson Signage. Available at: http://basid.se/case/clas-ohlson/
BAS (2011) Clas Ohlson Store. Available at: http://basid.se/case/clas-ohlson/
BAS (2012) Kasthall Display. Available at: http://basid.se/case/kasthall/
BAS (2012) Kasthall Store. Available at: http://basid.se/case/kasthall/
BAS (2012) Kasthall Shelf. Available at: http://basid.se/case/kasthall/
BAS (2012) Kasthall Products. Available at: http://basid.se/case/kasthall/
Richters, C. (2012) The MAC Exterior [Photograph] Belfast. Available at: http://
www.hallmcknight.com/projects/1/the-mac
Richters, C. (2012) The MAC Interior [Photograph] Belfast. Available at: http://
www.hallmcknight.com/projects/1/the-mac
Norwood, C. (2017) The MAC Signage [Photograph] Belfast.
Heaney, C. (2015) The MAC Lines and Light [Photograph] Belfast.
Heaney, C. (2015) The MAC Gallery Space [Photograph] Belfast.
32
33
33
34
35
35
35
37
37
37
38
39

01—
1
Introductio
n

2
SECTION ONE
Introduction
1,2
Anon. (2013) Brand
spaces: branded
archaitecture and the
future of retail design.
Berlin: Gestalten.
Spaces, brands and places and what these words
mean to people are all linked and all influence
each other to shape consumers’ perceptions
about somewhere, or about a brand.
With the birth of consumerism came the,
now traditional high street. Local businesses
soon turned into multinational companies along
with the department store and eventually the
supermarket and shopping centre. This wasn’t
just a change in branding but a change in space,
how spaces were developed and how brands
applied branding to create places.
This study will explore the importance of
branding in physical space and the impact that
brands have on it, including the relationship
between consumers and space. How brands
are changing their approach and attitude in an
ever increasing online landscape to increase
footfall, build and share experiences and create
engaging and interactive environments. In our
digital world a logo doesn’t cut it. People crave
not for virtual reality, but for reality. Brands have
identified the importance of space, and finding
their own space in which to brand their own.
Having an online presence is not enough
to survive in such a heavily saturated market.
Brands and branding are not the same thing.
A brand is what you perceive, whilst branding
is the means by which a brand communicates
to you, shaping your perception of it. Brand spaces
are continually evolving, in line with branding
techniques. Impacting all businesses alike,
as outlined by Sofia Borges (2013, p.3), ‘this
increased attention to physical branding and
its influence over the public sphere challenges
our commercial sector to inspire us by rethinking
retail’s status quo.’ 1
Featuring examples in section six, this essay
will highlight some of this leading thinking in
the retail sector and beyond. It’s this shift in
consumer behaviour and attitude to wanting
to develop the discovery process with a brand,
interacting with it and being treated as an
individual. People do not want to be treated
as mass market and so it’s a personable and
intimate approach brands are taking to ask
the important questions – which is exactly it,
they’re asking. It’s this idea that Borges (2013, p.3)
believes is the marketing tool that’s becoming an
integral part to new branding, ‘The impact of the
question mark as an effective marketing tool and
visual vocabulary is quickly surpassing the need
for branding’s usual exclamation point approach.’ 2

Humans are social beings, and so by talking
to them directly, or indeed trying to do so, and
creating social environments for them to be in,
the retail environment, it will have a positive
effect on their perception of the brand. In the
following sections we will discover the elements
that effect this topic as a whole and how it
influences us so greatly.
3

4
randing
02

5
SECTION TWO
Branding
What is branding, brands and brand identities. A brief history
and overview of the subject, looking at brand value, perceptions
and communication methods.
Branding as a tool has evolved massively since
the industrial revolution. Originally it was used
to brand (literally, to burn) cattle with a hot iron,
as a means of identification, from one farmer to
the next. It was the first use of marking goods as
defined by The Oxford American Dictionary in
1980: ‘a trade mark, goods of a particular make’.
The book Brands and Branding by the Economist
(2009) explores the question ‘What is a brand?’
In Chapter 1 (pp.13-25), comparing two definitions,
one being the above from Oxford American
and the other from half a decade earlier in 1934
from The Pocket Oxford Dictionary of Current
English which defines a brand as: ‘burning or
smouldering wood, torch, sword’, ‘Stamp…
impress indelibly’ and the author Tom Blackett
notes how these definitions demonstrate how
over 50 years the main use for the word brand
now has a ‘commercial application’. 3
All definitions still refer to branding as a
method of impression, but today meaning an
impression in our minds – how brands shape our
perception of them. Usually over a period
of time, the most well known brands today have
been icons of popular culture and society for
decades and haven’t just appeared over night,
for example Bass pale ale with it’s instantly
recognisable red triangle. It’s been around for
over a century and is truly iconic, as it was the
first ever-registered trademark in the UK back
in 1876. 4
3
Clifton, R. and Ahmad,
S. (2009) Brands and
branding. 2nd ed.]. ed.
London: Profile.
4
Bass pale ale trademark
https://www.ipo.gov.uk/
tmcase/Results/1/
Fig. 2.1 Bass Logo

6
‘ You must think about the minds
and emotions of your audience ’
5
Wheeler, A. (2013)
Designing brand identity:
an essential guide for the
whole branding team.
4th ed. ed. Hoboken, N.J;
Chichester: Wiley; John
Wiley [distributor].
6,7
Clifton, R. and Ahmad,
S. (2009) Brands and
branding. 2nd ed.]. ed.
London: Profile.
In the book Designing Brand Identity by
Alina Wheeler (2013) when stating what a
brand is she says,
A strong brand stands out in a densely
crowded marketplace. People fall in love
with brands, trust them, and believe in
their superiority. How a brand is perceived
affects its success, regardless of whether
it’s a start-up, a non-profit, or a product. 5
This opens up the debate for the anti-branding
movement argued in No Logo by Naomi Klein
(1999) stating simply that this power brands had
over people was a detrimental cause of many
problems in society. However, Patrick Barwise in
Brands and Branding (2009, p.xii) claims this is
a confused view, ‘when really they are attacking
the mostly American multinationals that own
global brands’. Which Rita Clifton backs up in
the book (p.1) asking for the recognition of the
importance of globalisation and brands for their
economic and social development value.
She argues, ‘Brands have been successful because
people want them; and every organisation’s need
to protect its reputation (and so it’s corporate
value) is a rather efficient impetus for them
to behave well.’ 6 It was possibly a lack of
understanding from anti-brand/anti-globalisation
arguments about the importance and value of
brands and their influence, for all organisations
profit or not.
Brands are valued on reputation. Brand equity
is important but that only values tangible assets,
which might be less relevant to service rather
than product based companies. Brands are
built upon trust, deriving from a customer’s
experience, which effects the choices a customer
makes, the review a customer might leave or,
what they tell their friends and family and how
that ultimately effects a brand’s reputation.
It’s about making the right impression, to be
liked/loved by customers, to be perceived in
a good light and to be trusted.
As shown in Figure 2.2 by the Saatchi & Saatchi
marketing concept Lovemarks, brands need to
be ‘loved’ to rank highly with customers, to stand
out and to be trusted and used time and time again.
This trust is established on whether or not a
brand lives up to its promise, if it can deliver
what it says. Once a good reputation has been
built it’s important that it is secured. Brands must
position themselves correctly to achieve this.

7
Brands
Lovemarks
Love Axis
Fig. 2.2 Lovemarks
Products
Fads
Two definitions of positioning in Brands and
Branding (2009, p.79) state distinctly, ‘You must
think about the minds and emotions of your
audience.’ Consumers are more difficult to please,
with more choice and brands to choose from
than ever before – not just in retail – brands
must do more. “The role of brands has never
been greater. They serve as a route map for
purchasing behaviour.” 7
Respect Axis

8
8
Davis, M.(.J.). (2012)
Graphic Design Theory.
London: Thames &
Hudson. Pp.15-17
9
Martin M. Pegler (2015)
Designing the Brand
Identity in Retail Spaces.
Fairchild Books. P.ix
In terms of communication, and
communicating your brand to the customer we
can look at the theoretical structures of certain
models. Theories applied to the processes of
electrical signal transmissions by research
scientist Claude Shannon (1948), which refer
to ‘sender’, ‘channel’, ‘receiver’ and ‘noise’ in his
‘Mathematical Theory of Communication’,
which was acknowledged by the scientist
Warren Weaver as an equal means of
visualising human communication.
The model is shown here in Figure 2.3,
it over simplifies complex variables however it
does show a basic visual of the communication
process. This point is made in Graphic Design
Theory by Meredith Davis (2012) and goes on
to develop the idea and discuss the ‘Emmert/
Donaghy Model of Communication’, which
displays ‘a deeper understanding of human
communication’. 8 It elaborates on the previous
model to include more appropriate aspects such
as context, feedback and behaviour. This leads
to the message cycle. This cycle looks more in
depth into distribution of communication and
how it’s interpreted, and consumed, through all
forms of media. Combined, these theories look
at how experience, culture, belief and context
all contribute to how differently individuals
receive messages, their meanings and how
they are interpreted.
So when we look at another definition
of what a brand and brand identity are,
as defined by Brian Resnick (2013 cited by Pegler,
2015), ‘Brand identity is expressed through
the most physically embodied aspects of the
organisation…’ continuing this definition by
suggesting, ‘It is the manifestation of the
brand that can be seen, heard and immediately
experienced… the brand identity has the ability
to impress and imprint.’ 9
This can be related to the previous theories,
determining that it is vital to get the message
right, target the right audience, to create the
right impression and deliver on a promise.
Build an experience with individuals and build
a relationship of trust with them. Whether that
is mentally or indeed expressed in physical
form i.e. space. Brands must be driven by
effective design in various environments to
promote engagement.

Fig. 2.3 Mathematical
Theory of Communication
9

10
Perceptions of
Place
03

11
SECTION THREE
Perceptions of Place
Space, place and how humans perceive and treat these areas.
How space becomes place and the ‘perspective of experience’.
Firstly, what is place? How do we visualise it,
perceive it and how do our cultures factor into it.
Space and place are separate entities, space can
be anywhere or anything we perceive to be
empty or vacant but may still serve a designated
purpose i.e. parking space. Space then becomes
place when our perceptions change, a meaning
has been associated to it, or it has been defined.
Our subconscious identifies somewhere as a
place, we recognise it and remember our past
experience of it. Once we associate memories –
experiences – our perception of that place soon
changes, it becomes defined and it has meaning
to us.
Yi-Fu Tuan, a professor of geography formerly
at the University of Wisconsin-Madison, explains
‘Place is a pause in movement’. Continuing later
to explain:
Place is whatever stable object catches
our attention. As we look at a panoramic
scene our eyes pause at points of interest.
Each pause is time enough to create
an image of place that looms large
momentarily in our view. The pause may
be of such short duration and the interest
so fleeting that we may not be fully aware
of having focused on any particular object;
we believe we have simply been looking
at the general scene. Nonetheless these
pauses have occurred. It is not possible to
look at a scene in general; our eyes keep
searching for points of rest. 10
These simple yet significant identifiers allow
10
Tuan, Y. (1977)
us to map out space in our mind; they shape Space and place:
our experience by affecting our recollection
the perspective of
experience. London:
of locations or events. Authenticity is what
Edward Arnold. p.161
drives these feelings, people want an authentic
experience, and they want to try out a product
or service in the right environment. This is
something Architect Gerry Hamill would argue
for, as he believes in creating comfortable,
non-intimidating environments to attract
returning customers. We will look at this in

12
11,12
Creative Review,
July 2016, Vol.36 Issue 7
pp.62-67
more detail in the next section. In terms of
transforming place, rethinking the space as well
as reconnecting with an audience, Manchester’s
Whitworth Museum has done just that in the
past decade. Opening last year after £15 million
of refurbishments the space has been extended,
‘and intended to make it more welcoming to
the public.’ 11
It wanted to connect to new audiences,
in new and innovative ways. They had the central
idea for their physical change to connect more
with people from the outside, ‘The transformation
of the building was led by the idea that we want
to be porous to people around us.’ So physically
you can see inside the building from outside,
as the extension is constructed mostly of glass.
They reconnected to local schools and groups
and developed a program called the ‘Whitworth
Young Contemporaries’ aimed at students not in
higher education; these initiatives all surround
the aspect of community. Something that relates
strongly to place, a sense of community is a sense
of place and belonging.
When speaking to Creative Review (2016)
about winning the 2016 Museum of the Year
Award from the Art Fund, only months after
reopening, the museum’s director Maria Balshaw
said, ‘In particular, for us, really changing the
relationship we have with the park around
us and then the communities that live on our
near-borders.’ They have done this, more than
doubling visitor numbers, this connection to
community and place has been achieved and
has had obvious effects on those who now
engage with the space or indeed make it a place
of their own. It is something everyone can
relate to, Maria says, ‘Tourists visiting the city
and local people actually want the same thing,
which is curious, amazing, tremendous art.’
The importance of people and space, together,
changes how traditional spaces like museums
are now treated. Maria argues, ‘In the 20th
century, museums were treated as a kind of ivory
tower, a scholarly retreat… But I don’t think that’s
what museums are at now.’ Explaining that,
‘the cultural impact of museums is about
bringing people and ideas and objects and
artists together…’ 12
Another example of this impact of place is
the Metropolitan Arts Centre (MAC) in Belfast,
Northern Ireland. A centre that creates an
atmosphere, a sense of place – it is an arts,
cultural and social hub for the local community.
A finalist for the Art Fund Prize for Museum
of the Year in 2015 it is establishing itself as a
leading European art centre; it has also won
many building awards.

13
Fig. 3.1 Whitworth
Gallery Outside
Fig. 3.2 Whitworth
Gallery Inside
It’s this that backs up Maria’s view of a
changing museum landscape. About bringing
people together, a forum for discussion and
events, and a people and experience centred
focus. This focus is what drives popularity as
people are more engaged with the building and
by gaining a positive experience from it, go on to
promote it further.
All of these perceptions of place are shaped
by impact. The impact is achieved through an
emotional response of experience – created
with the architecture (physical) and the brand
application (visual).

Branded
14
Place
04

15
SECTION FOUR
Branded Place
Branded space. Architectural design and a look at the physical
brands that exist, shop fit outs, concept stores to pop ups.
Brand experience is summed up by Tom Lacki
(2003 cited by Smith, 2009), a Senior Director
for Knowledge Management at Carlson as,
‘The consistency of the customer experience
is key, because consistency enables trust, and
trust is a fundamental enabling condition for
the development of productive and authentic
relationships.’ 13
Brands big and small all over the globe spend
a great deal of resources into communicating
their brand and making an impression on the
public. With billions being spent worldwide on
advertising. When that brand then ‘invites the
public into its domain’ in a shop, exhibition,
café or restaurant, ‘anywhere where the public
meets the brand in its own territory—how is
the corporate brand made evident in that
specific environment?’ This question raised
by the author Martin M. Pegler (2015), in his
book Designing the Brand Identity in Retail
Spaces is later answered by saying, ‘It takes
close cooperation with brand management
and a visual sensitivity to turn the brand that
is stated in words and goals into dimensional
surroundings.’ 14
In the book Brandscaping (Riewoldt, 2002)
the author discusses staging brands, when
referring to key global brands increased
investment in ‘the bricks and mortar of their
customer-orientated brand identities’ that the,
‘Showrooms or flagship stores alone no longer
fit the bill.’ 15 This is an important point that is
also stated in Brand Spaces (2013). Innovation and
a new vision for retail is what can push stores
into a newfound fame. Shopping spaces are
changing greatly and that the likes of the
department store are maybe struggling,
the ‘new hybrid projects’ are filling the gaps.
‘One element of their success marketing is their
experience-orientated architecture… It can
help to translate the legendary dream of the
consumer temple into the modern age.’ 16
The focus on architecture, applying the brand
to the space and creating an experience in that
13
Clifton, R. and Ahmad,
S. (2009) Brands and
branding. 2nd ed.]. ed.
London: Profile. p.99
14
Martin M. Pegler (2015)
Designing the Brand
Identity in Retail Spaces.
Fairchild Books. P.viii
15
Riewoldt, O. (2002)
Brandscaping: worlds
of experience in retail
design = Erlebnisdesign
für Einkaufswelten. Basel:
Birkha¨user. p.13
16
Anon. (2013) Brand
spaces: branded
architecture and the
future of retail design.
Berlin: Gestalten. p.3

16
Fig. 4.1 Dyson Store London
17
Norwood, C. (2016)
Interview with Gerry
Hamill Architect, Belfast
space all play the part of making it a desirable
place to go and not follow the trends of
traditional retail stores and intimidating
sales tactics.
Talking with architect Gerry Hamill,
he would agree. Working on the new fit out of
Toals Bookmakers in Belfast City Centre he says
it’s about ‘selling the experience’. ‘How do you
entice people out of their living room? Maybe
they’ll make that additional purchase.’ So in
an online world where retailers are suffering
in store – there are many ways in which they are
trying to attract people back in. Gerry believes
in a focus on the customer. Looking back at
Selfridges or any classic department store,
it’s trying to evolve that experience with a
modern vision. ‘You have to feel comfortable
in an environment.’ The importance is on
‘a balance of comfort and not to be intimidated’
removing the sales desk counters approach and
sales people taking a hands-off approach and
being on the same level as the customer. He picks
out three key words that all the market leaders
adopt and that you need to create: Experience,
interaction and comfort.
‘Everyone wants an experience, to be
comfortable’ and says people respect attention to
detail that it takes to craft such an environment.
If a brand cares about the environment it gives
you then they must care about you. ‘It is this
end-user experience and interaction that is
critical – the end users must feel excited and
comfortable at the same time.’ 17
You can see a Dyson stall in a shopping
centre and be in the world of Dyson within
another world, it’s testament to the importance
of branding space no matter how small.
Especially when it becomes so identifiable.

17
Fig. 4.2 Dyson Store London
‘ The Dyson Demo encourages
people to be hands-on… so people
can understand the engineering
behind them.’
A milestone for Dyson is the launch of its
very first permanent store in London in 2016.
In an article on Design Week (2016) it says it will,
‘allow people to try out products first-hand and
learn about the science behind them.’
Again, giving a customer a chance to ‘try before
you buy’ and experience a brand, its products
and its technology in a physical space. It’s evident
of how key an aspect this is to companies. It will
be a demo store; you can test out their products,
learn about them, talk to ‘Dyson experts’
and discover the technology – with no tills.
You can still purchase a product once you’ve
tried it out. ‘The Dyson Demo encourages people
to be hands-on… so people can understand the
engineering behind them’ says Jake Dyson,
research, design and development director and
CEO Max Conze says it will ‘bring engineering
to life.’ In the article Sarah Dawood calls it an
‘interactive learning environment concept’
which is also similar to an educational space
that Apple has recently opened too. 18
John McDermott, brand director at AVB Brand
sees physical space as another extension of
a brand. In the same way as an ad campaign or a
website is. Referring to John Lewis he says their
brand effects and influences their TV adverts
which then effects what their store windows
show – all of which are extensions of the brand
to create an overall impression, suggesting too
that visual merchandising is something very
important in designing and mapping physical
space particularly in retail environments.
John believes brands need to be getting better
at working in different dimensions, maybe
becoming more adaptable and flexible. 19
18
https://www.
designweek.co.uk/
issues/4-10-july-2016/
dyson-brings-engineeringlife-new-london-store/
19
Norwood, C. (2016)
Interview with Chris
Killeen and John
McDermott AVB Brand,
Belfast

Experience
18
of Place
05

19
SECTION FIVE
Experience of Place
Creating an engaging and interactive experience – and the
importance of doing so. To retain customers, increase sales
and awareness.
When speaking of Es Devlin, a stage designer,
Creative Review (2016), ‘When we experience so
much through screens, it has become a truism
to stress the value of the live event. The thrill of
“being there” becomes ever sharper the more we
rely on other media.’ 20
And based on positive or negative experiences
of places this affects how we feel about them,
do we enjoy going to work? Or going to a certain
park for walks? This is why our experience of
places can be so important. It’s also important
to have these experiences in the first place.
People seek places that allow them to explore
and discover.
Let’s take a look at what has been a resurgence
or revolution that is the coffee movement.
You won’t find any small town never mind a main
city that doesn’t have a coffee shop located on
nearly every street, local or chain – in Britain
alone there are 16,500 coffee shops. 21 There will
be 20,500 outlets by 2018. 22 In 2013, the three big
companies: Starbucks, Costa and Caffé Nero saw
their sales rise by 9.3%. And in the same research
what was around 11% of us visiting a coffee
shop every day is now over 20%. Independent
coffee shops are now on top of this market, and
why? People want real, authentic, quality coffee.
Something they believe their local artisanal
barista can offer them.
There is now an entire culture surrounding
this product, an experience to be had by anyone
who enjoys this hot drink. Coffee shops aren’t
just for drinking coffee however, they’re social
spaces, people meet here, chat here, plan and
work here. For some it’s the coffee, but for others
it’s the space – a shared space, a branded space.
Coffee shops are changing to reflect their more
premium product, selling better coffee; they are
creating better spaces to serve it in. In doing so,
creating better experiences for people to enjoy
it in. Not just in the local independent shops
either, this is what the big corporate chains are
replicating; in fact Starbucks has had a massive
impact on coffee in the UK since it first opened
in London in 1998. Starbucks now has over
25,000 stores in 70 countries. 23 It’s success is
20
Creative Review, June
2016, Vol.36 Issue 6 p.48
21
https://www.
theguardian.com/
lifeandstyle/2014/jun/08/
the-coffee-revolution-jayrayner
22
https://www.
theguardian.com/
environment/2014/jul/20/
is-it-ok-to-buy-coffee-froman-independent
23
http://time.
com/4588739/starbuckshoward-schultz-ceo-kevinjohnson-sbux/

20
Fig. 5.1 Starbucks
Express London
24
https://www.
bloomberg.com/news/
articles/2016-12-01/
starbucks-schultz-will-stepdown-as-ceo-replacedby-johnson
25
Norwood, C. (2016)
Interview with Chris
Killeen and John
McDermott AVB Brand,
Belfast
26
Ehmann, S., Klanten,
R., and Borges, S., (2013)
Workscape: new
spaces for new work.
Berlin: Gestalten.
unprecedented and it continues to dominate.
Bloomberg reported that, ‘the company has used
its mobile application and other tech services
to fuel sales in recent years’ and this positions
it, ‘ahead of its peers, allowing it to serve more
customers faster’ (Bloomberg, 2016) and this
surely has a positive effect on customers because
they get their coffee faster. A recent change in
CEO too is to do with Starbucks’ shift in focus
to expanding its Reserve Roasteries as well
as their new Reserve retail stores, which is
their ‘new upscale brand’. 24 See Figure 5.2,
a compilation of headlines when searching for
Starbucks on the website DesignWeek.co.uk,
we see how the company is experimenting,
innovating, reinventing but most importantly
with all these ideas, is creating experiences.
Something that big brands are doing now
that Chris Killeen, brand director at AVB Brand,
talks about in an interview when discussing
pop-up stores, is they can be used to tailor a
personalised experience for a customer to ‘reduce
the perceived scale of a brand’ using Nike as an
example when a brand gets so big it needs to look
for small niche markets to remain relevant to say,
‘look what we can do, we can relate to you’. 25
And so by developing a smaller more focused
high-end product and service they can shape
themselves to look like a local independent store
without a big corporate image getting in the way.
This change in thinking can be linked to modern
living, as discussed in detail in Workspace – New
spaces for new work, ‘People are living differently,
working differently and shopping differently so
the retail landscape needs to change too.’ 26
John McDermott notes how all big brands
e.g. Google, are creating a social place to work in,
something that is becoming company culture
(to be comfortable) with the need to make it feel
like you want to be there, something that is very
much applicable to retail. Also discussing how
important staff is as an element of branding.

Starbucks unveils
new interiors as
part of £8million
overhaul of
London stores
21
Starbucks offers “theatrica
dining with new interiors
Starbucks launches
boutique stores in UK
Starbucks launches
new concept café for
busy London commute
The people that work in that space, they reinforce
the brand. Through human interaction, this is
very important. The brand narrative and
storytelling can be told through the staff,
as another extension of the brand. All in a bid
to push brand messaging.
With all these components established,
some big brands like to operate in a very
controlled manner – strict – with total brand
consistency in mind. However this can restrict
a brand and really lower the chances of it
being exciting in anyway to further itself.
Dominik Prinz of Interbrand (2014) uses the
term Brand Democratisation to overcome
this challenge; he sees it as an opportunity.
Fig. 5.2 Starbucks
Brand Democratisation is the, ‘willingness to let headlines
go of the desire to control every single step of
the customer journey’, this allows it to be more
lively and playful and when used well, ‘creates
much deeper engagement, more excitement,
and a bigger sense of brand ownership for
people’ which is what a brand should want. The
importance of letting a brand live out through
extensions and letting go Dominik explains is
another way of exploring how to ‘make the brand 27
Kent, C. (2014)
experience more participatory and co-designed Branding Roundtable 7:
by the people it’s ultimately for.’ 27 Challenges and
Opportunities for 2015.
Branding Magazine. p.8

22
Case
tudies
06

23
SECTION SIX
Case Studies
Examples of branded space by some of the best brand examples,
their success, influence on the ‘space’ and interviews.
Using what we’ve looked at in previous sections
of this study we will explore how all aspects of
branding and space planning work together in
creating better places for people, whether it be in
a commercial setting or a social one. Looking at
the relationship between architecture, graphic,
interior and product design – how they engage
with an audience and promote the brand.
All with the aim of creating better more holistic
branded space.
We begin by taking a look at Checkland
Kindleysides (CK), a design agency with a global
reach. Based in England and formed in 1979 by
David Checkland and Jeff Kindleysides, their
ethos and vision was a belief that it is important
to make ideas a reality quickly. And today this is
still the case, not only do they have two design
studios, one in Leicester and the other in London
but they also have a workshop studio. Allowing
them to experiment, invent and innovate.
They believe in brand storytelling. With a focus
on collaboration to build robust relationships
with clients, which would be why their work is
so highly valued – setting ‘new global benchmarks’
through the creation of innovative concepts. 28
CK have been partnering with Levi’s for over
25 years, building a worldwide strategy for how
they act in retail. They’ve worked on reshaping
and reimagining what a flagship store is in 1994,
developing the first ‘unbranded’ store in 1999
and experimenting with technology in store.
‘Setting “new global
benchmarks” through
the creation of
innovative concepts’
Case studies begin overleaf i
28
http://
checklandkindleysides.
com/

24

25
Fig. 6.1 Levi's
London Flagship Store
Fig. 6.2 Changing Rooms
Checkland
Kindleysides
29
http://
checklandkindleysides.
com/work/levis
All the while creating a ‘timeless brand attitude’
over this time period. Continuing to play on this
with the creation of a new flagship store in 2011
(in the original London location), which was
being hailed as a comeback for Levi’s, ‘redefining
how a brand behaves at retail.’ They set out to
create an experience and make connections,
a place where the brand could promote and
flaunt its expertise while being able to ‘express
its point of view’. The store has a space to host
events, they invited creative talents such as
musicians and artists which ‘serves to generate
content’ and ‘drive traffic to the store’ ultimately
getting people to engage with the brand. 29
Fig. 6.3 Shop floor

26
Fig. 6.4 Hunter
Regent Street, London
Hunter is another client of Checkland
Kindleysides whose brand has a story to tell,
something that their store design relies heavily
on is customer engagement. CK created a story
with a strong journey element, using materials
to create an adventure:
Fig. 6.5 Hunter
‘Soundscapes’
This is a dreamlike journey through
British urban and agricultural
architecture, through landscapes and
gardens. Each step of the journey is
played out with a sensorial burst of
digital and tactile experiences, with
playful elements of visual illusion.

27
Fig. 6.6 Hunter
Regent Street, London
Fig. 6.7 Hunter
Ginza, Japan
Figure 4.1 Starbucks
headlines
It combines technology with traditional
methods to add a new dimension, making
‘fresh experiences to share with new audiences.’
Sound is a vital element in telling this brand
narrative. They use live weather forecasts,
the sound of birds can be heard in the changing
rooms, this creates a digital soundscape to tell
a story, and evoke certain emotions from people.
Paired with other media it is very much the
production of such a space that can really set it
above anywhere else and aim to build a unique
retail space. Opening a dialogue between the
store and the audience.
This store has been such a success that it will
now influence and be reflected in a global rollout
to all of Hunter’s spaces, from flagship to outlets.
As you can see from Japan’s version of the store
in Figure 6.7, it still very much holds the values
of the original creative concept but ‘less literal’
and more ‘ethereal’, they say to target the
Japanese market. 30
30
http://
checklandkindleysides.
com/work/hunter

28
Fig. 6.8
PlayStation Event
Fig. 6.9
PlayStation Event
31
http://
checklandkindleysides.
com/work/sonyplaystation
A lot of what surrounds this subject is
connections. For 10 years CK have been working
side by side with Sony PlayStation to help with
their global product launches. This partnership
relies heavily on connections. Not just between
CK and PlayStation but with connecting the
audience – the players – with the PlayStation
brand and with each other. This concept is
a creative vision that they’ve implemented
through a diverse range of applications, the
problem being able to do this consistently.
So by ‘pioneering a modular and flexible
creative vision’ this can then be ‘translated
into scalable concepts’ so that no matter what
variation in size, they are connected by the same
idea and provide the consistency the brand was
looking to utilise. One of Sony PlayStation’s key
aims is to ‘engage and educate their audience.’
So the idea behind this concept is to educate
through active engagement, if people are using
the product, interacting with the service and
discovering the brand – then this can be used
as a method of learning. 31

Fig. 6.10
Gran Turismo Driving Pod
29

30
BAS
32
http://basid.se/
33
http://basid.se/case/
systembolaget/
BAS is a Swedish creative collective. Consisting
of three separate ventures: BAS – Commercial
innovation combining brand and retail strategies.
BAS ITG – Strategy and innovation aimed at
technology and telecommunications. Finally,
BAS REX – Delivers concept development for
shopping centres and food courts.
This diverse range of skills ‘provides a
unique combination of competences… for both
digital and physical environments… as well as
implementation and management.’ 32 That is
another valid perspective, that although the
physical environment is more important than
ever in the present day as argued, the digital
landscape can be equally as powerful and
important. It is only by combining them and
using them for each other’s benefit can you
create an ultimate experience. It is very useful
to use digital experiences but held within
physical space to play to the senses and
enhance experiences. BAS is as committed as the
likes of Checkland Kindleysides in bringing ideas
and concepts into reality, shaping this combined
thinking of experiential design. They developed
a new store concept for Systembolaget, Sweden’s
government owned off license and the only
retail store allowed to sell alcoholic beverages
containing over 3.5% alcoholic volume. BAS
were assigned to develop this new concept and
updated identity to ‘deliver more of a specialist
store experience than a volume outlet.’ Their
result was ‘an inspiring and knowledge-driven
“beverage library” with influences from Nordic
design and based on customer insights’ and the
first concept store is testing this out already.
You can see from the materials and finishes
that this store is already of a high quality, set up
so a customer can learn, engage and understand
the product better. Using infographics and labels,
a customer can find out more with ease. 33

Fig. 6.11
Systembolaget Store
31

32
Fig. 5.12
Systembolaget Display
Fig. 5.13
Systembolaget
Infographic Labels

‘ It should be easy to search
and choose in store. ’
33
Fig. 5.14
Clas Ohlson Signage
Fig. 5.15
Clas Ohlson Store
Being easy to navigate and create a
comfortable environment to be in is something
BAS wanted to use to their advantage with work
they have done for Clas Ohlson. ‘The intention
is that everyone should feel at home with the
identity and store concept’ with the focus that,
‘above all, it should be easy to search and choose
in store.’ To visualise this they updated the
identity by simplifying and modernising parts
of it so that it can work more efficiently. They
see the completed identity as a ‘journey’ and so
the finished outcome will take time to grow and
evolve, there’s even a graphic manual in progress
and they see this as a step-by-step process. 34
When talking about process, this is something
very important to the modern culturally aware
consumer. They want to see the process behind
the product, how it’s made and the materials it
uses are of very high importance.
34
http://basid.se/case/
clas-ohlson/

34
Fig. 5.16
Kasthall Display
35
http://www.kasthall.
com/en/about-kasthall
36
http://basid.se/case/
kasthall/
Kasthall is rug and textile company from
Sweden that have been designing for interiors
since 1889. ‘Kasthall is about transforming
a vision into a realistic design solution for
the floor.’ 35 They state that there are three
ingredients in creating a Kasthall rug: expertise,
craftsmanship and design understanding. BAS
had to then translate this into a physical store
space. They describe the store as a ‘new artistic
scene… displaying unique carpets.’ With the
use of, ‘natural, raw elegance enhancing the
softness of the products.’ They list the keywords
as: innovation, durability, craftsmanship and
personal expression. So this should be something
built to last, and the design of the store with ‘raw
concrete floors’ and ‘dark natural colours,’ the
materials evoke this and the contrast amplifies
this, it gives it a premium quality look – and feel.
After all, this if a textile company and so the
ability to feel the products is key. Even the use of
displaying the raw wool used in their products
draws people to that connection between
material, process and product. 36

35
Fig. 5.17
Kasthall Store
Fig. 5.18
Kasthall Shelf
‘ Draws people to that
connection between material,
process and product. ’
Fig. 5.19
Kasthall Products

36
AVB Brand
AVB Brand is a brand consultancy in Belfast,
with a focus on brand strategy and development.
Creating brands that ‘tell a story, communicate
clear value and promote customer engagement.’
They are behind the brand for the MAC, which
was referenced in section three, speaking with
brand directors Chris Killeen and John McDermott
we can look at the process behind the project
of branding this unconventional space.
Firstly they believe in the importance of
involving the client heavily at the start of a
project, it’s important to identify all applications
and issues and work with them to understand
better, the client and the space, says Chris.
They conduct site visits and interviews at
this early stage. They also say it’s better to be on
a project from the start, to have more of a chance
to influence the space, instead of arriving late in
the process and having very little say.
‘Working with interior designers and architects
allows you to work out what that space is for and
how it’s going to be used… Brand values should be
lived out in the space itself,’ says John, ‘it’s about
style and tone rather than just badging a space.’
And choosing the right style and feel, within the
budget – as well as knowing the audience.
When working on the MAC they worked
closely with the architect, Hall McKnight. And it
was about, ‘staying true to the brand’ says Chris.
They developed a flexible identity that worked
intimately with the environment, going off the
idea of a ‘leading edge’ this statement had to
ring true in all the elements. It was brought to
life through the materials, finishes and layout.
The logo sits outside of the building but then
that’s it, people don’t need to be told explicitly
where they are, the use of materials and all these
other elements is what brands the space inside.
The logo doesn’t need to be applied everywhere
inside, John thinks it’s a ‘less is more’ approach.
And bringing the outside in – as referenced in
the Hunter store designs – continuing the brand
narrative and storytelling.
‘ Brand values should be
lived out in the space itself. ’

37
Fig. 5.21
The MAC Interior
Fig. 5.20
The MAC Exterior
Fig. 5.22 (below)
The MAC Signage

38
Fig. 5.23
The MAC Lines and Light

39
A big part of this project, and any branding
project, is wayfinding. This is why they go on site
visits, ‘see it from the visitor’s shoe, find out how
to get from A-B’ explains John. The materials, the
fixtures, the materials of the signs, all providing
subtle suggestions that need to ‘feel right’;
they can’t jar with the brand or the space they,
‘want it to compliment the environment.’ But it
also ‘needs to be practical as well’ states Chris.
Signage shouldn’t be an afterthought.
Fig. 5.24
The MAC Gallery Space
With all this is mind; we can see how
important and successful these spaces are –
through collaboration between all creative teams
and the client. Treating an architect like a client
to get a well-branded space, Chris believes, ‘that’s
when you get a good result.’ 37

40
Conclusion
07

41
SECTION SEVEN
Conclusion
Brands, branding, space, place and human
perspectives shape the experiences we have in
physical environments. What people demand
shapes the consumer landscape over time,
again and again. What we see in retail now will
continue to adapt and evolve in the future, to
stay relevant, to survive. Which it will, as people
will continue to want new social and experiential
retail spaces.
So through design and architecture unique,
inspiring and authentic spaces can be created.
A vital part of this argument surrounds
authenticity, and authentic narratives. These
spaces are successful because of people, that
human element that is key to creating an
authentic experience. ‘Brand identity is about
adding emotional and sensory appeal to the
brand’ (Pegler, 2015) 38 It’s emotional, and sensory
design that makes it experiential, if people feel
something emotionally when they enter a space
or can connect with it – through engagement,
then it’s that warmth and comfort that allows
them to explore and discover the space and
ultimately; the brand – with everything being an
extension of that brand. Which is an important
aspect of this argument, as brands aren’t just
things – products and services – to become
household names they have to be lived out in
spaces, to have people engage and then they
live out the brand. As discussed earlier Brand
Democratisation is a term that promotes this,
letting a brand grow and not be completely
controlled all of the time with consistency
overload and strict brand guidelines; let it live.
It becomes more real, flexible, agile and human
with the use of this looser approach.
Comparing physical and digital spaces,
‘technologies alter the spatial experience’ and
Chris Houlieze (2010, p.93-94) suggests that with
technology, ‘the line between what is offline and
what is online is getting increasingly blurred
and one can imagine, in the stores of tomorrow,
mixed realities where real products displayed
in a brick-and-mortar store will be intertwined
with products displayed virtually.’ 39 Already in
2016, six years on from this article, we can see
this trend increasing to become the norm.
It’s more about merging the digital with the
physical, and understanding the importance
of the physical when it can be easy to overly
rely on the simplicity but thinness of digital.
Therefore it’s certainly necessary to strike
the right balance.
With what we’ve looked at throughout this
study, it is all an attempt to prove the importance
of and current trend in popularity of experiential
spaces in retail environments for brands, in this
truly global and digital age.

42
Appendix
08

43
APPENDIX
Interviews
Gerry Hamill –November 2016
1. What’s your opinion of architecture
in branded space (for retail or
commercial)? What experience can
you share on this?
Architecture in branded space offers the
Client the clear ability to visualise how their
new branding would look like internally
and externally when implemented. Such 3D
design offerings such as prototype stores are
invaluable to companies planning to embark
on a national rebrand. Huge benefits can
be gained – additional customer traffic and
sales and reduction of wasted expense – just
being a few examples of the benefits.
2. In a digital age, do you see a renewed
need for experimental physical spaces
for brands to operate in?
Yes, an experimental model phys they
are three-dimensional representations of
your designs. They also offer you and, if
required, your customers the opportunity to
understand the concept and refine the end
result to accurately suit your objectives.
With a prototype, it’s a walk through,
life-size preview of your new concept; an
interactive market research laboratory
where key answers to attitude, reaction and
usage can be known early on – all of which
are crucial to success when introducing
new elements. Customers are given the
opportunity to trial elements and offer
their feedback which is vital in determining
if, and how well, your design offering will
work. This is powerful. Any improvements
and adjustments you make based on their
input is able to ensure your new fit out
directly appeals and engages your enduser.
It is this end-user experience and
interaction that is critical – the end users
must feel excited and comfortable at the
same time.
3. What do you think is the value of
creating an experience within a space
for a customer?
As answered in 2. above.

44
4. And what are your thoughts on the
discovery element of physical space,
building a journey for customers to
tell them a story.
Interaction and experience is key to
the success of any product or physical
space. Building a journey and a story to
follow helps with the understanding and
experience of the product or space – the
customer feels part of the story and
inclusion within the design offering –
this leads to a successful space that the
customer then feels comfortable within.
Discovery is part of life – everyone loves it
– it comes from childhood when everything
was a discovery. Visual, sensory Smells and
Tactiles are great!!
5. How influential do you see the
prototype store, the pop-up and
guerrilla stores? Is it important to
constantly experiment? In such a
rapidly changing industry, what
temporary architectural structures
can help transform space?
As answered in 1 and 2. Above – yes always
experiment as technology and surrounds
are rapidly changing about us. Push the
boundaries – customers love this! It is the
discovery element again! There are so many
materials available to designers now that
almost any temporary structure can be
achieved if you can imagine it. I believe the
next generation will be 3D-Printed Space
and Structures! Currently this year it is
proposed in the Netherlands to 3D Print a
bridge in-situ using a series of 3D printing
robots moving along the bridge structure as
they print the bridge span structure!

45
6. Have you worked with design/brand
studios previously to bring a brand
to life in the real world? What are
the benefits of having a positive
relationship between a designer and
an architect in making a creative
vision reality?
No I haven’t worked with a brand studio
before but I believe it to be crucial to
involve and Architect to help bring ideas
on branding to life in the real world. An
Architect can assist the process of actual
rollouts that will be more efficient and
streamlined. Key learnings encountered
during the prototype’s production itself
will be useful in reducing cost, or waste.
Meanwhile, clearer estimates can be made
on the time needed to implement the full
and final roll out. It may take you one, two
or three prototype stores to get it right,
but this could add up to extensive cost
savings, with significantly improved return
on investment. An Architect with Design
experience and use of materials, lighting,
energy, space is crucial in my opinion to give
assured guidance.

46
Chris Killeen, John McDermott (AVB Brand) –November 2016 [Notes]
1. Let’s begin with how you start a brand
space project? How involved is a client
at this stage, is this an important factor,
what are the main starting points?
Yes it’s important. Very important to be
heavily involved know all the reasons, identify
applications and issues. Working with them to
understand better. Site visits, research and
then creative development. CK
If you’re in working from the start you have
more chance to influence that space. Whereas if
you arrive in late to a project you have very little
say over space and can end up just putting vinyl
on the wall. Working with interior designers and
architects allows you to work out what a space is
for how it’s going to be used. Brand values should
be lived out in the space itself. It’s about style
and tone rather than just badging a space. JM
Knowing the audience. CK
Knowing budgets – important to know so you
don’t design something beyond the budget.
Choosing the right style and feel for the money.
Architects don’t necessarily focus on brand. JM
2. Have you worked with architects
previously to bring a brand to life in the
real world? What are the benefits of
having a positive relationship between
a designer and an architect in making a
creative vision reality?
As answered in 2. above
3. How do you go about translating a
brands statement visually: what it stands
for, its traditions, its vision etc?
Worked closely with architects of the MAC,
[flexible identity working to apply that to the
environment] Staying true to the brand CK
Logo is applied outside so no need to have it
everywhere inside. Big part of branding is
way finding. Go to a site and see it from the
visitors shoes, find out how to get from A-B.
Materials, fixtures. Materials of signs. Subtle
suggestions. Feel right, don’t want it to jar, want
it to compliment the environment. JM
Needs to be practical as well CK
Signage shouldn’t be an afterthought. JM
MAC lettering outside, brand into a 3D space.
Treat architect like a client to get a well-branded
space. That’s when you get a good result. CK

47
6. How important is physical, and in
4. Explain the importance of the
getting better at different dimensions. JM
materials, textures, lighting and other
techniques in creating an experience?
MAC – ‘Leading edge’ Materials, finishes,
layout. Not really want a logo. Don’t need
to be told. Less is more approach.
Brand narrative/storytelling.
Subtle, bringing outside in. JM
Apple’s London flagship store is doing CK
House of Fraser is an experience store.
some ways social, space to a brand?
Especially in a digital age, and with
such a rapidly changing world.
(Pop-up/guerilla store)
All big brands, Google etc. creating a social
space to work in, it’s now become company
culture. [To be comfortable] Need to make
it feel like you want to be there. [Applicable
to retail] JM
Get people in to experience the products
and then either go away and buy them
online or in store. Immersive store you can
go in, interact with the space. Buy online. JM
7. And what are your thoughts on the
discovery element of physical space,
building a journey for customers to
5. Along with this what other
experiential/sensory techniques and
methods can you use to enrich an
experience and amplify the brand?
Lighting/music. Hollister – been replicated,
now they’ve changed.Music take you to the
headspace they want [fun vs calm] CK
Visual merchandising – John Lewis brand
effects and influences their TV adverts
which then affects what their store
windows show and they are extensions of
the ad campaign/brand. Brands need to be
tell them a story.
Advertising tactic, boost brand awareness JM
Pop ups to [reduce the perceived scale of a
brand] Pop ups to personalize: Nike – too big,
go small/niche, look what we can do, we can
relate you it/you. CK
Pushing brand messaging. The people that
work in that space, reinforce the brand.
Human interaction, very important.
Narrative and storytelling told through
workers [MAC we’re here to help] JM

48
Bibliography
08

49
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The impact of branding on physical
space and the importance of creating
an experience.
Branded space, in the form of shops,
museums, cafés and restaurants have an
effect on us everyday. This study will look
at the impact of physical space – how it
can influence us and how it shapes our
perceptions of brands and places.
Including case studies from around
the world and interviews with
industry professionals.
Craig Norwood