Paying attention to aspects like functionality, materials and
accurate drawings to guide the construction and other similar
details is as critical as a good design in creating a memorable
and effective retail experience.%%
{{Beginning to Weave}}%%
We are now at the midpoint
in the design process: the
‘detail-design’ stage.$$
So far in the series, we
discussed the ‘Defrost-Mode’
where initial impressions
are analysed and a ‘Design
Brief’ is generated. The brief
is substantiated by Brand
Studies, Consumer Touch-Point
Mapping and Mindmaps; all of
which culminate in a ‘Strategy
Document’. Furthermore, ideas
and approaches are assessed
and a ‘Unifying Theme’
that encapsulates the brand
promise is identifi ed. The
theme is validated through a
working mood board and quick
renderings. %%
At this stage, the designer,
like a tapestry artist, walks
into the studio with a beautiful
theme playing in her mind and
the mandate from the clients/
stakeholders, who in turn by
now have become patrons.
The designer also has all the
ingredients in the form of
programmed facts and data;
and can now begin to do what
she does best: Design. While
in the previous stage machetes
were prepared, now actual
confi gurations with working
details, down to the last tee
are crafted. Having said that,
for those who may feel that
the realm of design for couture
jewellery is all about ideas,
programming and radical
thinking, this stage is a reality
check! At this stage, ideas are
tested against real constraints of
actual space availability, budget
outlays, costs, lead times for
materials, timelines, contractor
capabilities etc.
{{Functionality First}}%%
To begin with, all the relevant
retail formats are listed for
adaptation to the theme. These
start with permanent formats
like stores, semi-permanent
formats like shop-in-shops and
include temporary formats
like exhibitions. Actual space
availability in each format
is listed. Where the space
availability is fl exible, the ideal
proportion is assumed. Next
product numbers for display,
footfalls and operational
requirements for each format
are arrived upon and hard-core
space planning variants are
generated. %%
Upon the fi nalisation of the
space-allocation, plans for each
category, detailed sections and
unfolded elevations depicting
scales, proportions and material
articulation are prepared.
Kelvins of lighting are calibrated
and fi tting types are specifi ed.
Broad level allocations for MEP
Design
Indian Jeweller 60 February-March 2011
Design
provisions for electrical, airconditioning,
surveillance and
fire-fighting are made at this
stage. Compliance drawings
for adherence to local statutory
codes or those imposed by malls
or fair architects are also made.
Besides the unifying theme,
planning principles that govern
various formats are established
at this stage. These vary from
customer seating density to
product display density. Nooks
for relevant interaction modes:
standing, sitting, lounging etc.
are elaborated. Operations
support areas are also
earmarked. Idle seating zones
and break-out areas for staff are
created. %%Micro level planning is
also done simultaneously.
‘Planograms’, keeping in
mind optimum visual product
placement and optimum
commercial product displays
are prepared. Classically, visual
product placements are done
using the following strategies: %%
1. Horizontal Display Strategy:
The strategy is successful for
small products where the unit
price is not as substantial and/
or variety is the key to making
a sale. Rings, earrings, bangles
and pendants are usually
displayed in this format. %%
2. Vertical Display Strategy:
Here pieces are displayed in
their designated compartments
/zones and the respective zones
are placed one above the
other. The format provides for
exclusive cones of vision for the
product. Neck pieces, Bracelets
etc. are displayed using vertical
visual display. %%
3. Block Placement Strategy:
These are exclusively used for
showstoppers. The strategy
is deployed for arresting the
interest of a glancing customer
or for showcasing a new line. %%
Commercial product display
allocations are based upon
the collection structure, price
points and fresh designs.
Seasonal push in various
categories is also considered
in making these allocations.
Allocations for wedding season
are different than those for
Valentines or Raksha Bandhan.
Local customer biases are also
considered. The decision on
sizes for visual merchandising
props and allocation for point
of sale materials is made at this
stage. %%
{{Specific details: Design
Vocabulary}}%%
As discussed earlier in the
series, the design vocabulary
is unique to every project and
encompasses all elements that
go on to complete a design.
We start building the design
vocabulary by identifying
specific details that will repeat
themselves in spirit through
various components. These
comprise edge details, grooves,
material articulation etc. So a
wooden lap joint in a counter
display is so detailed that the
same can be adapted to the
details in a door. Similarly
upholstery piping edges in
furniture are carried into edges
of visual merchandise products. %%
These details put together
form a design language. The
design language extends itself
into choice of materials, lighting
etc. This design language brings
about uniformity in elements
and goes on to relate, at an
extremely micro scale, various
components. The intention is to
create synergy as well as a sense
of identity. This synergy lends a
distinct flavor to the consumer
experience.%%
{{Material board – final
Sample}}%%
The material palette exercise
started at the inception stage is
brought to a closure now. The final material selection is put
together on board. Wherever
samples are required these
are prepared and the quality
is benchmarked. Key suppliers
are brought on board. Rates
and supply lead times are
negotiated. The process of
closure on the materials board is
transparent to all stakeholders.
It is mutually agreed that no
deviations henceforth shall be
made, unless the designers find
special merit in the need for a
variation.
At this stage, key craftsmen
and contractors are short listed.
The clients may propose specific
contractors as well. Once the
short-listing is complete, all the
parties are judged for technical
competency. This is done by
two means. Firstly, a qualifying
criterion is set. The criterion
includes parameters like
commercial turnover; categories
of previously handled work;
background check through
phone calls to the contractor’s
previous clients. Secondly, a visit
to the contactor’s previously
handled sites is made. The
process may seem stretched but
is critical. The craftsmen translate
the design into reality. Choosing
the right craftsmen goes a long
way to ensure quality. %%
{{Detail Design}}%%
The final leg in the process is
the preparation of Construction
Drawings. These drawings are
the means through which the
designers communicate their
intentions to the craftsmen.
Each and every element is
detailed and dimensioned as
per the design. In some cases
the construction drawings are
followed by shop drawings
from the contractors. The shop
drawings reflect the specific
construction and procedural
details. Alongside the drawings
detailed specifications are
prepared. The drawing and
specifications lead to final bill
of quantities, which in turn
generate the estimates for the
project. %%
{{End Line}}%%
A good design alone does not
ensure a good result. The design
has to be meticulously detailed
out for the desired results to
show. We have come to believe
that there are three variables
in the translation of designs
for couture jewellery: Design,
Quality and Time. The three
variables are interdependent in
the given sequence. If the design
component is missing, timely
delivery of a quality product
cannot ever lead to creation of
a retail experience. In the same
vein, if the design is dealt with
sensitively, but quality is not
maintained: the experience thus
generated does not go on to
become transcendental. This
brings us to the next part of
the process, execution. Here we
shall carefully study the impact
of time and budgets on the
designs.
{{Jasleen Bindra,}} an architecture graduate, specialised in Lifestyle and Accessory Product Design from NID, Ahmedabad. Having previously worked as a Jewellery
Designer with leading Jewellery Firms across the country, she is now spearheading retail innovation through her Pune based Design studio, figments.inc.
e-mail: figments.inc@gmail.com
Paying attention to aspects like functionality, materials and
accurate drawings to guide the construction and other similar
details is as critical as a good design in creating a memorable
and effective retail experience.%%
{{Beginning to Weave}}%%
We are now at the midpoint
in the design process: the
‘detail-design’ stage.$$
So far in the series, we
discussed the ‘Defrost-Mode’
where initial impressions
are analysed and a ‘Design
Brief’ is generated. The brief
is substantiated by Brand
Studies, Consumer Touch-Point
Mapping and Mindmaps; all of
which culminate in a ‘Strategy
Document’. Furthermore, ideas
and approaches are assessed
and a ‘Unifying Theme’
that encapsulates the brand
promise is identifi ed. The
theme is validated through a
working mood board and quick
renderings. %%
At this stage, the designer,
like a tapestry artist, walks
into the studio with a beautiful
theme playing in her mind and
the mandate from the clients/
stakeholders, who in turn by
now have become patrons.
The designer also has all the
ingredients in the form of
programmed facts and data;
and can now begin to do what
she does best: Design. While
in the previous stage machetes
were prepared, now actual
confi gurations with working
details, down to the last tee
are crafted. Having said that,
for those who may feel that
the realm of design for couture
jewellery is all about ideas,
programming and radical
thinking, this stage is a reality
check! At this stage, ideas are
tested against real constraints of
actual space availability, budget
outlays, costs, lead times for
materials, timelines, contractor
capabilities etc.
{{Functionality First}}%%
To begin with, all the relevant
retail formats are listed for
adaptation to the theme. These
start with permanent formats
like stores, semi-permanent
formats like shop-in-shops and
include temporary formats
like exhibitions. Actual space
availability in each format
is listed. Where the space
availability is fl exible, the ideal
proportion is assumed. Next
product numbers for display,
footfalls and operational
requirements for each format
are arrived upon and hard-core
space planning variants are
generated. %%
Upon the fi nalisation of the
space-allocation, plans for each
category, detailed sections and
unfolded elevations depicting
scales, proportions and material
articulation are prepared.
Kelvins of lighting are calibrated
and fi tting types are specifi ed.
Broad level allocations for MEP
Design
Indian Jeweller 60 February-March 2011
Design
provisions for electrical, airconditioning,
surveillance and
fire-fighting are made at this
stage. Compliance drawings
for adherence to local statutory
codes or those imposed by malls
or fair architects are also made.
Besides the unifying theme,
planning principles that govern
various formats are established
at this stage. These vary from
customer seating density to
product display density. Nooks
for relevant interaction modes:
standing, sitting, lounging etc.
are elaborated. Operations
support areas are also
earmarked. Idle seating zones
and break-out areas for staff are
created. %%Micro level planning is
also done simultaneously.
‘Planograms’, keeping in
mind optimum visual product
placement and optimum
commercial product displays
are prepared. Classically, visual
product placements are done
using the following strategies: %%
1. Horizontal Display Strategy:
The strategy is successful for
small products where the unit
price is not as substantial and/
or variety is the key to making
a sale. Rings, earrings, bangles
and pendants are usually
displayed in this format. %%
2. Vertical Display Strategy:
Here pieces are displayed in
their designated compartments
/zones and the respective zones
are placed one above the
other. The format provides for
exclusive cones of vision for the
product. Neck pieces, Bracelets
etc. are displayed using vertical
visual display. %%
3. Block Placement Strategy:
These are exclusively used for
showstoppers. The strategy
is deployed for arresting the
interest of a glancing customer
or for showcasing a new line. %%
Commercial product display
allocations are based upon
the collection structure, price
points and fresh designs.
Seasonal push in various
categories is also considered
in making these allocations.
Allocations for wedding season
are different than those for
Valentines or Raksha Bandhan.
Local customer biases are also
considered. The decision on
sizes for visual merchandising
props and allocation for point
of sale materials is made at this
stage. %%
{{Specific details: Design
Vocabulary}}%%
As discussed earlier in the
series, the design vocabulary
is unique to every project and
encompasses all elements that
go on to complete a design.
We start building the design
vocabulary by identifying
specific details that will repeat
themselves in spirit through
various components. These
comprise edge details, grooves,
material articulation etc. So a
wooden lap joint in a counter
display is so detailed that the
same can be adapted to the
details in a door. Similarly
upholstery piping edges in
furniture are carried into edges
of visual merchandise products. %%
These details put together
form a design language. The
design language extends itself
into choice of materials, lighting
etc. This design language brings
about uniformity in elements
and goes on to relate, at an
extremely micro scale, various
components. The intention is to
create synergy as well as a sense
of identity. This synergy lends a
distinct flavor to the consumer
experience.%%
{{Material board – final
Sample}}%%
The material palette exercise
started at the inception stage is
brought to a closure now. The final material selection is put
together on board. Wherever
samples are required these
are prepared and the quality
is benchmarked. Key suppliers
are brought on board. Rates
and supply lead times are
negotiated. The process of
closure on the materials board is
transparent to all stakeholders.
It is mutually agreed that no
deviations henceforth shall be
made, unless the designers find
special merit in the need for a
variation.
At this stage, key craftsmen
and contractors are short listed.
The clients may propose specific
contractors as well. Once the
short-listing is complete, all the
parties are judged for technical
competency. This is done by
two means. Firstly, a qualifying
criterion is set. The criterion
includes parameters like
commercial turnover; categories
of previously handled work;
background check through
phone calls to the contractor’s
previous clients. Secondly, a visit
to the contactor’s previously
handled sites is made. The
process may seem stretched but
is critical. The craftsmen translate
the design into reality. Choosing
the right craftsmen goes a long
way to ensure quality. %%
{{Detail Design}}%%
The final leg in the process is
the preparation of Construction
Drawings. These drawings are
the means through which the
designers communicate their
intentions to the craftsmen.
Each and every element is
detailed and dimensioned as
per the design. In some cases
the construction drawings are
followed by shop drawings
from the contractors. The shop
drawings reflect the specific
construction and procedural
details. Alongside the drawings
detailed specifications are
prepared. The drawing and
specifications lead to final bill
of quantities, which in turn
generate the estimates for the
project. %%
{{End Line}}%%
A good design alone does not
ensure a good result. The design
has to be meticulously detailed
out for the desired results to
show. We have come to believe
that there are three variables
in the translation of designs
for couture jewellery: Design,
Quality and Time. The three
variables are interdependent in
the given sequence. If the design
component is missing, timely
delivery of a quality product
cannot ever lead to creation of
a retail experience. In the same
vein, if the design is dealt with
sensitively, but quality is not
maintained: the experience thus
generated does not go on to
become transcendental. This
brings us to the next part of
the process, execution. Here we
shall carefully study the impact
of time and budgets on the
designs.
{{Jasleen Bindra,}} an architecture graduate, specialised in Lifestyle and Accessory Product Design from NID, Ahmedabad. Having previously worked as a Jewellery
Designer with leading Jewellery Firms across the country, she is now spearheading retail innovation through her Pune based Design studio, figments.inc.
e-mail: figments.inc@gmail.com
Paying attention to aspects like functionality, materials and
accurate drawings to guide the construction and other similar
details is as critical as a good design in creating a memorable
and effective retail experience.%%
{{Beginning to Weave}}%%
We are now at the midpoint
in the design process: the
‘detail-design’ stage.$$
So far in the series, we
discussed the ‘Defrost-Mode’
where initial impressions
are analysed and a ‘Design
Brief’ is generated. The brief
is substantiated by Brand
Studies, Consumer Touch-Point
Mapping and Mindmaps; all of
which culminate in a ‘Strategy
Document’. Furthermore, ideas
and approaches are assessed
and a ‘Unifying Theme’
that encapsulates the brand
promise is identifi ed. The
theme is validated through a
working mood board and quick
renderings. %%
At this stage, the designer,
like a tapestry artist, walks
into the studio with a beautiful
theme playing in her mind and
the mandate from the clients/
stakeholders, who in turn by
now have become patrons.
The designer also has all the
ingredients in the form of
programmed facts and data;
and can now begin to do what
she does best: Design. While
in the previous stage machetes
were prepared, now actual
confi gurations with working
details, down to the last tee
are crafted. Having said that,
for those who may feel that
the realm of design for couture
jewellery is all about ideas,
programming and radical
thinking, this stage is a reality
check! At this stage, ideas are
tested against real constraints of
actual space availability, budget
outlays, costs, lead times for
materials, timelines, contractor
capabilities etc.
{{Functionality First}}%%
To begin with, all the relevant
retail formats are listed for
adaptation to the theme. These
start with permanent formats
like stores, semi-permanent
formats like shop-in-shops and
include temporary formats
like exhibitions. Actual space
availability in each format
is listed. Where the space
availability is fl exible, the ideal
proportion is assumed. Next
product numbers for display,
footfalls and operational
requirements for each format
are arrived upon and hard-core
space planning variants are
generated. %%
Upon the fi nalisation of the
space-allocation, plans for each
category, detailed sections and
unfolded elevations depicting
scales, proportions and material
articulation are prepared.
Kelvins of lighting are calibrated
and fi tting types are specifi ed.
Broad level allocations for MEP
Design
Indian Jeweller 60 February-March 2011
Design
provisions for electrical, airconditioning,
surveillance and
fire-fighting are made at this
stage. Compliance drawings
for adherence to local statutory
codes or those imposed by malls
or fair architects are also made.
Besides the unifying theme,
planning principles that govern
various formats are established
at this stage. These vary from
customer seating density to
product display density. Nooks
for relevant interaction modes:
standing, sitting, lounging etc.
are elaborated. Operations
support areas are also
earmarked. Idle seating zones
and break-out areas for staff are
created. %%Micro level planning is
also done simultaneously.
‘Planograms’, keeping in
mind optimum visual product
placement and optimum
commercial product displays
are prepared. Classically, visual
product placements are done
using the following strategies: %%
1. Horizontal Display Strategy:
The strategy is successful for
small products where the unit
price is not as substantial and/
or variety is the key to making
a sale. Rings, earrings, bangles
and pendants are usually
displayed in this format. %%
2. Vertical Display Strategy:
Here pieces are displayed in
their designated compartments
/zones and the respective zones
are placed one above the
other. The format provides for
exclusive cones of vision for the
product. Neck pieces, Bracelets
etc. are displayed using vertical
visual display. %%
3. Block Placement Strategy:
These are exclusively used for
showstoppers. The strategy
is deployed for arresting the
interest of a glancing customer
or for showcasing a new line. %%
Commercial product display
allocations are based upon
the collection structure, price
points and fresh designs.
Seasonal push in various
categories is also considered
in making these allocations.
Allocations for wedding season
are different than those for
Valentines or Raksha Bandhan.
Local customer biases are also
considered. The decision on
sizes for visual merchandising
props and allocation for point
of sale materials is made at this
stage. %%
{{Specific details: Design
Vocabulary}}%%
As discussed earlier in the
series, the design vocabulary
is unique to every project and
encompasses all elements that
go on to complete a design.
We start building the design
vocabulary by identifying
specific details that will repeat
themselves in spirit through
various components. These
comprise edge details, grooves,
material articulation etc. So a
wooden lap joint in a counter
display is so detailed that the
same can be adapted to the
details in a door. Similarly
upholstery piping edges in
furniture are carried into edges
of visual merchandise products. %%
These details put together
form a design language. The
design language extends itself
into choice of materials, lighting
etc. This design language brings
about uniformity in elements
and goes on to relate, at an
extremely micro scale, various
components. The intention is to
create synergy as well as a sense
of identity. This synergy lends a
distinct flavor to the consumer
experience.%%
{{Material board – final
Sample}}%%
The material palette exercise
started at the inception stage is
brought to a closure now. The final material selection is put
together on board. Wherever
samples are required these
are prepared and the quality
is benchmarked. Key suppliers
are brought on board. Rates
and supply lead times are
negotiated. The process of
closure on the materials board is
transparent to all stakeholders.
It is mutually agreed that no
deviations henceforth shall be
made, unless the designers find
special merit in the need for a
variation.
At this stage, key craftsmen
and contractors are short listed.
The clients may propose specific
contractors as well. Once the
short-listing is complete, all the
parties are judged for technical
competency. This is done by
two means. Firstly, a qualifying
criterion is set. The criterion
includes parameters like
commercial turnover; categories
of previously handled work;
background check through
phone calls to the contractor’s
previous clients. Secondly, a visit
to the contactor’s previously
handled sites is made. The
process may seem stretched but
is critical. The craftsmen translate
the design into reality. Choosing
the right craftsmen goes a long
way to ensure quality. %%
{{Detail Design}}%%
The final leg in the process is
the preparation of Construction
Drawings. These drawings are
the means through which the
designers communicate their
intentions to the craftsmen.
Each and every element is
detailed and dimensioned as
per the design. In some cases
the construction drawings are
followed by shop drawings
from the contractors. The shop
drawings reflect the specific
construction and procedural
details. Alongside the drawings
detailed specifications are
prepared. The drawing and
specifications lead to final bill
of quantities, which in turn
generate the estimates for the
project. %%
{{End Line}}%%
A good design alone does not
ensure a good result. The design
has to be meticulously detailed
out for the desired results to
show. We have come to believe
that there are three variables
in the translation of designs
for couture jewellery: Design,
Quality and Time. The three
variables are interdependent in
the given sequence. If the design
component is missing, timely
delivery of a quality product
cannot ever lead to creation of
a retail experience. In the same
vein, if the design is dealt with
sensitively, but quality is not
maintained: the experience thus
generated does not go on to
become transcendental. This
brings us to the next part of
the process, execution. Here we
shall carefully study the impact
of time and budgets on the
designs.
{{Jasleen Bindra,}} an architecture graduate, specialised in Lifestyle and Accessory Product Design from NID, Ahmedabad. Having previously worked as a Jewellery
Designer with leading Jewellery Firms across the country, she is now spearheading retail innovation through her Pune based Design studio, figments.inc.
e-mail: figments.inc@gmail.com
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