Commerce is, at its core, exchange. “As productive forces develop, commercial activity evolves from irregular gatherings to periodic markets, from rural fairs to trade centers, and from mobile, fluid spaces to fixed, defined locations.” Commercial space should therefore be understood as the various spatial forms required for these activities.
Concept of Commercial Space
A. Definition of Commercial Space
Before answering this question, it is first necessary to clarify what commerce is.
Commercial space is one of the most complex and diverse categories within human activity spaces.
In a broad sense, commercial space can be defined as: all spatial forms related to commercial activities.
In a narrow sense, commercial space can be understood as: the space required for commercial activities in current society—that is, the spatial environment in which goods are exchanged, consumer needs are met, and commodity circulation is realized.
Even the narrow definition of commercial space encompasses a wide range of content and design subjects. For example, various trusted commercial spaces—museums, exhibition halls, shopping malls, pedestrian streets, office buildings, hotels, restaurants, brand stores, beauty salons, and similar spaces—can all be included.
However, with the development of the times, modern commercial space will inevitably exhibit characteristics of diversification, complexity, technological advancement, and human-centered design. Its concept will also give rise to more interpretations and extensions.
B. Composition of Commercial Space
Commercial space can essentially be understood as the relative relationships among people, objects, and space.
1. The relationship between people and space lies in the fact that space fulfills the functions required for human activities, including material acquisition, spiritual experience, and intellectual needs.
2. The relationship between people and objects lies in the function of interaction and exchange between people and objects.
3. Space provides the function of placing objects; the combination of many “objects” constitutes space, and the combination of many spaces of different sizes constitutes larger spaces with different functions.
People are mobile, while space is fixed. Therefore, the “objects” and “space” examined from a human-centered perspective produce the diversity of commercial space environments based on different needs and demands.
C. Reflections on Commercial Space
If we refer only to fixed commercial space, it necessarily requires fixed commercial facilities to facilitate the entry and exit of customers. The purpose of merchants is to earn profit through the price difference from exchange. Thus, the basic function of commercial facilities lies in effectively selling goods. However, with the prosperity and development of commercial activities, the simplest model of exchange can no longer satisfy customer needs.
Therefore, environmental factors in commercial space, ancillary leisure and entertainment facilities, and the “intellectual satisfaction” brought about by the rapid development of contemporary technology have also become increasingly important.
New construction methods and materials are also continuously applied in commercial space design. Commercial spaces that combine technological appeal with fashion create consumer trust in the products purchased and stimulate the desire to buy.
Under the influence of the overall consumption-driven era, commercial activities are also developing toward higher levels. In addition to updating products and strengthening sales activities, greater emphasis is placed on the functionality of commerce and environmental shaping to satisfy consumers and ultimately drive commercial activities forward.
Commercial Space Design
A. Overview of Commercial Space Design
Commercial space design is, in essence, the analysis and judgment of commercial space. In our view, whether it is architectural design, interior decoration design, or environmental design, it must ultimately be oriented toward consumers—that is, toward the market. Without this prerequisite, everything that follows lacks a foundation for evaluation.
We cannot simply copy foreign models, nor can we ignore the different consumption needs of modern Chinese consumers across various cities. Therefore, in the final analysis, it is necessary to create a commercial environment that aligns with modern lifestyles.
B. Case Studies in Commercial Space Design
Now, let us illustrate this through several cases: how can we satisfy modern lifestyles?
We examine the lifestyles of Americans, Europeans, Southeast Asians, and people in different cities across China.
In reality, it is the current standard of living and income levels that determine the need for such commercial facilities. Many of our current buildings and shopping models may resemble those of the United States in the 1960s, 1970s, 1980s, or 1990s. Such architectural models and commercial space combinations may largely align with that era because our consumption levels and economic development stage determine this.
However, we are also pleased to see that, in terms of trends, what Chinese consumers pursue is very much in line with these international models—this is a common human trait. For example, some commercial facilities we see in Shanghai and Beijing are already very close to current international commercial combinations and architectural environments. Why is this?
Urban development and local consumption, along with the entry of large numbers of foreign commercial companies, have driven this kind of consumption, enabling such commercial facilities and combinations to emerge in those cities. When we work in other locations—whether second- or third-tier cities, or small and medium-sized cities—we may not be able to do the same. But we also see that these small, medium, second-tier, and third-tier cities will inevitably follow the same path. Because the human pursuit of beauty and consumption—whether spiritual or material—is universal. It is only because of different stages of development that different pursuits emerge at different times.
Therefore, before undertaking any commercial architectural design, we must first understand the local lifestyle and needs. At the same time, we must also consider foresight—because it will continue to develop. When we create an architectural product, we cannot merely satisfy current needs; we must have a certain degree of forward-looking thinking.
Once these needs are identified, we determine the business model that can satisfy them. In other words, before we design an architectural product, we must first plan the future commercial mix to meet these consumption needs. What is a commercial mix?
As mentioned earlier, for example: Who are the anchor tenants? Who are the small and medium-sized shops? What kind of dining mix is there? Is there entertainment? How is entertainment incorporated? Different commercial projects have different combinations, and these combinations must satisfy the local consumption needs we have discussed.
Therefore, whenever we undertake a commercial design in a city, we must make a judgment about that specific city and project. Once the preceding issues are clarified, the final step is simply a matter of implementation. Architects will then proceed according to the principles of commercial architecture.
To illustrate this viewpoint, let us look at some cases. The following are several typical types of commercial spaces or shopping centers in Europe and America. In reviewing these types, we must recognize that, due to differences in China’s current economic development level and consumption capacity, we are at different stages.
Many of the commercial space designs we are currently working on still do not reach the level of sophistication seen in other types. Some of the trade and commerce types listed in this table have already begun to appear in Beijing and Shanghai, meaning we are gradually moving closer to the lifestyles seen in Europe and America. These are shopping centers or commercial space types that meet the quality standards of such lifestyles.
In fact, the table below—which we have not yet had time to review in detail—provides definitions for each type of commercial space, including its area, specifications, anchor tenant mix, and small and medium-sized shop combinations. It has been refined to the point where different shopping centers or commercial spaces are designed for different consumer groups.
Design a specific commercial space for your specific market. Once you decide to develop a commercial project, we first define the commercial positioning before deciding what type of commercial space to build. Do not expect your commercial facility to meet everyone's needs. In fact, trying to satisfy everyone leads to failure. Most successful projects are the result of initial market research. When you finally decide on the building product and commercial mix to serve a specific group, its lifecycle will be long. If you try to satisfy everyone, the commercial project will have a very short lifecycle.
For example, among the Fortune 500 retail companies in Europe and America, only a dozen have actually entered China. Many stores have not entered the market. We are not saying they must enter, but we can learn from them. What does it mean to be a Fortune 500 retail company?
It means they must have reached a certain scale and developed chain brands. Being on the Fortune 500 list means there are many main commercial formats. As mentioned earlier, there can be more than ten types of electrical appliance stores, not homogeneous, but differentiated. There may also be twenty or thirty different home furnishing store formats. This rich commercial product offering segments consumer demand, and then different store formats are designed based on different consumer needs. These different store formats are then reflected in our architecture. Unfortunately, currently, our merchants do not focus enough on this. We find that this makes commercial real estate difficult to develop, and leads to homogeneous planning and design in commercial real estate.
In the end, we can only use architecture and environment to compensate for this homogeneity. In fact, when everyone designs commercial spaces, the contents inside may be the same. Unlike in North America and Europe, where there are different store options. The combination of these store options defines the commercial space more clearly, indicating which type of consumer needs it serves. This chain and industrial chain have not been formed.
Finally, homogeneous products are formed. So, based on China's current complex situation and the stage of economic development, which is a leapfrog stage, we may experience in two years what other countries took ten years to develop commercially. Therefore, when we undertake commercial real estate projects, we need to conduct a realistic analysis of how to respond to the current market. Because our real estate projects require long-term returns. We need to consider that it will not become outdated in a few years, so this commercial positioning is very important.
Here is a familiar example. This is an example from Qingdao, the commercial street on Zhongshan Road. As everyone knows, this is a century-old commercial street, mainly featuring German-style architecture. Over the past two or three years, the Qingdao municipal government or the Shinan District government has been trying to renovate this street.
Because this street has now completely declined, with poor overall operating conditions and street environment. So far, about three or four rounds of architectural design and renovation plans have been made, but no ideal reform plan has been produced. Our approach is that we will not start with architecture. How to design the architecture depends on the overall positioning of this street.
How is this positioning determined? Actually, we need to research the merchants in Qingdao, the overall commercial situation in Qingdao, including the commercial situation of this street, and consumer perception, before we proceed. First, establish a clear commercial positioning, and then the architecture will naturally follow.
The design principle we proposed at that time was: what do consumers in Qingdao actually need? What are their expectations for this street? We conducted a survey of the current customer flow in the commercial street, mainly local consumers. Local consumers account for more than 40%, and out-of-town consumers account for more than 50%, which is a very interesting phenomenon.
In commercial streets across the country, out-of-town consumers are usually the minority. Like Wangfujing in Beijing, out-of-town consumers account for more than 40%, and local consumers account for more than 50%. Here, it is precisely the opposite, with out-of-town consumers as the majority and local consumers as the minority. Based on historical investigations over the past few years, this proportion was not the case even seven or eight years ago. On Zhongshan Road, local consumers were the majority, which means that this commercial street has now lost its appeal to local consumers.
At the same time, we believe that it must meet the needs of modern commerce. If we look at the current commercial composition on Zhongshan Road in Qingdao, this composition can no longer meet the needs of modern people's lives and consumption. If it cannot meet the needs, it naturally cannot have good sales. If your sales cannot increase, merchants cannot get normal profit returns, the entire street environment will only get worse, good stores will withdraw, and only poor stores will remain, leading to a vicious cycle, including the street environment becoming more and more dilapidated.
We believe that we still need to find the needs of local Qingdao consumers for this street. Moreover, we should not only look at commercial needs, but also analyze modern people's consumption habits and their perception of the environment of this street. We need to analyze it thoroughly. Of course, we will not show the extensive analysis process. Finally, we concluded that what do local or out-of-town consumers want when they come to this street?
In fact, the century-old historical street is indeed an attraction, with a large number of excellent historical buildings. But this alone is not enough. There must be modern commercial scenic spots and environments suitable for modern commerce, including architecture and architectural spaces. That is to say, commercial replacement and the overall environmental design of the building should also reflect the pursuit of modern people's lifestyles. Because we also conducted a survey, if we turn this entire street into a historical building street. Then, according to the statistical results of consumer feedback, they believe that there are many places in Qingdao that can reflect the architectural atmosphere of European-style historical buildings. There are many such places. It does not necessarily have to be reflected in this street. If this century-old street is used as a selling point for European-style architecture, it is far from enough. Therefore, there must be commercial buildings that reflect modern aesthetic concepts and are suitable for modern commercial operations.
We put forward a viewpoint that the renovation of this street should be based on creative restoration. That is, historical buildings should not be moved or destroyed. Because many previous plans involved demolishing many historical buildings to build fake German-style buildings and then simulating commercial operations. That is why this architectural plan has been delayed. We also believe that without prior market analysis and judgment, we propose that we must boldly restore the original condition of this street, that is, do not destroy the main structure of the original building, especially maintain the style of the original historical building.
Commercial Space Design Display Forms
Modern commercial spaces use a variety of display techniques, and display forms are not fixed. Dynamic display is a highly favored display form in modern exhibitions. It differs from outdated static displays by adopting active, operational, and interactive methods. Audiences can not only touch exhibits, operate exhibits, and make specimens and models, but more importantly, they can interact with exhibits, allowing audiences to understand the functions and characteristics of products more directly. From static display to dynamic display, it can mobilize the active participation awareness of visitors, make exhibition activities more colorful, and achieve good results. At present, dynamic display is widely used in large fixed exhibition spaces, such as exhibition halls and museums. The use of high-tech and modern display methods makes science and technology museums more in line with the requirements of the times. There are mainly the following forms:
1. Combining specimens with live exhibits. For example, the large ecological aquarium in the Biodiversity Zone of the Shanghai Science and Technology Museum, filled with a dazzling variety of live fish, is extremely popular with visitors.
2. Combining indoor display with open-air display. Placing certain exhibits outdoors brings them closer to nature and shortens the distance with visitors. This novel and realistic “return to nature” format suits the aesthetic tastes of contemporary people.
3. Combining movement with stillness. By skillfully using modern single-image technologies such as slides, holography, lasers, video, film, and multimedia, as well as virtual reality technology, static exhibits are extended to create a lively, warmly atmospheric display environment with an immersive effect.
4. Combining physical objects with electronic information. Through an electronic guide system, visitors can find an ideal touring route; through computer kiosks, they can learn in detail about the knowledge on display. Combining testing, viewing, and participation further satisfies visitors’ autonomy.
It is also gradually gaining attention in commercial display activities, such as fashion displays and automobile displays. Dynamic display makes presentations vivid and gives the display space a kind of vitality—for example, visual impact, auditory appeal, tactile stimulation, and gustatory and olfactory stimulation. Through entertainment-oriented environments, atmospheres, merchandise displays, and promotional activities, it attracts customers’ attention and improves memory of the exhibits. Vivified display spaces are more direct and sensory than mass-media advertising, and more likely to stimulate purchasing and consumption behavior.
A. The flow of people
In the layout of today’s shopping malls and retail spaces, whether the customer aisle design is scientific directly affects the reasonable flow of customers. Generally speaking, aisle design takes the following forms:
1. Straight-line type, also known as grid type, means all counter fixtures are arranged at right angles to one another, forming winding aisles.
2. Diagonal type. The advantage of this aisle is that it allows customers to browse freely, creates a lively atmosphere, makes it easier for customers to see more products, and increases purchasing opportunities.
3. Free-flow type. This layout forms various combinations according to the characteristics of products and fixtures—either independent or clustered—with no fixed or dedicated layout format, and the sales format is likewise not fixed. For example, using store aisles and other spaces to erect relatively loose three-dimensional advertisements; dispatching brand ambassadors or costumed cute animals to communicate with customers; setting up dynamic POP advertisements in high-traffic areas such as elevators and corridors; and using motors and other mechanical devices or natural wind to make advertising figures move dynamically.
B. The flow of exhibits
Effectively using the physical, chemical, and other properties of the exhibits themselves to set them in motion, showcasing their own characteristics during movement. For example, automobile displays break away from static placement by putting cars on roads and holding convoy races, parades, and so on. When Nissan’s Fengshen sedan entered the Chinese market, it held the “Fengshen One-Liter City Rally,” using one liter of fuel to test the longest driving distance in different cities and different districts, attracting the attention of consumers and test-drivers everywhere and bringing out the car’s drivable nature. Using special dynamic display stands allows products placed on them to move and rotate in a regular way; skillfully using changing lighting effects can also create the impression that a stationary object is moving; cleverly changing and flashing type, or supplementing it with dynamic structural fonts, can produce a dynamic feeling. In addition, flow characteristics can also be added to exhibits that do not inherently possess them.
1. Dynamic display of books. The display of book design is open-ended—using multimedia methods, the method of books laid open, the method of partial enlargement, the method of adding commentary alongside, and the method of rotating bookshelves. Another example is the window display of a clothing store, where moving, colorful flashing lights and flowing illumination can create the illusion that the mannequins are moving. III. The flow of display fixtures. Automatic devices are used to put exhibits into motion. Common moving display fixtures include: 1. Rotating platforms, whose bases are equipped with motors. Large rotating platforms can hold cars, while small ones can hold jewelry, mobile phones, computers, and so on. Their advantage is that visitors can view the exhibits from all angles; no matter where visitors stand, the viewing opportunities are equal, which can improve the utilization rate of the fixtures and fully realize their use value.
2. Rotating racks, which mainly rotate on the vertical plane. Their advantage is that they can make full use of high-level space.
3. Motorized models. Human figures, animals, machines, and vehicles can all be made into motorized models so that they move according to display needs—such as trains passing through tunnels, cars crossing bridges, rockets launching into the sky, and birds and beasts roaring in the forest. This conveys the big through the small, creates a lively atmosphere, and enhances viewers’ perception and enjoyment.
4. Robot attendants. Through programming, robots can rotate, walk, speak, play music, and otherwise interact with visitors, or perform simple services for them, making the display more vivid and interesting.
5. Semi-panoramic paintings and panoramic paintings, which create a realistic sense of space and of the event as it unfolded. The technique is to paint a highly three-dimensional scene behind the physical objects, or use high-tech large-screen projection and other means to install a fake distant view, creating a strong sense of spatial hierarchy and making what was originally flat become realistic. If motorized models, lighting, and sound are added, a theatrical effect is produced, making visitors feel as if they are truly on the scene.
C. Spatial flow
It is mainly divided into two categories:
One is virtual spatial flow, which uses high-tech imaging and other means to create a change in space, turning the space into a flowing space and giving people the feeling of moving through it, as if wandering within the space.
The other is real spatial flow—for example, the rotation of an entire exhibition hall, or advertising vehicles promoting everywhere. All of these bring the exhibits closer to the audience and better promote the products.
Modern display and exhibition should abandon the previous single-minded approach of merely displaying products; it should be a complete, humanized space that must have several display areas:
First, a merchandise space, such as counters, windows, shelves, and platforms.
Second, a service space.
Third, a customer space.
In the overall display space, every possible supporting factor should be mobilized; the modeling design should be as distinctive as possible; color, lighting, and decorative techniques should strive to be original; the arrangement should make the display lifelike, humanized, and site-specific; and the visiting method should encourage visitors to operate and experience hands-on, actively participating in activities to form interaction. In addition, flexible and diverse services can be provided within the exhibition area, such as setting up a reception hall, a lounge, giving away small gifts, or distributing brochures, so that the entire display space and process are complete, making people feel that they are not merely viewing a product exhibition but enjoying an experience.