E X A M I N A T I O N OF RELATIONSHIPS 
BETWEEN 
M E R C H A N D I S I N G E N V I R O N M E N T 
D E S I G N AND USER P S Y C H O L O G Y . 
A dissertation presented to the 
Faculty of Architecture. University 
of Moratuwa - SRI LANKA 
for the final 
Examination in M.Sc in Architecture 
and to the Royal Institute of 
British Architects for R.I.13.A. (Part II) „ „ 
Examination. -
S.P. Ainarasinghe. C&II' 
Year Six 
DEPARTMENT OF ARCHITECTURE 
UNIVERSITY OF MORATUWA -SRI LANKA 
1998 June 30 
A C K N O W L E D G E M E N T 
I am extremely grateful to Dr. Ranjith Perera, lecturer 
department of architecture, university Moratuwa, who lias been a constant source 
of inspiration to me in the task of writing this dissertation 
Next I must thank sincerely Arct. Vidura Sri Nammuni , 
Lecturer, University of Moratuwa. 
Also, I wish to extend my heartfelt gratitude to the following, 
whose assistance, inspiration and guidance contributed to the successful 
completion of the work. 
Arch Cris. de saram and Arct Gamini Weerasinghe. 
Lecturers, Department of Architecture, University of Moratuwa. 
Mr. K D Fernando Lecturer, Department of planning, 
University of Moratuwa. 
and 
Arct. Padmakumara Navarathna 
1 also appreciate the help given me by with the editing 
Miss Duleeni De. Alwis and Dilani Kadawathage with (he type setting. 
Finally heartfelt gratitude to my mother for all the sacrifice done and loving 
encouragement 
Figure List of Illustrations Page No 
1) Art as a creation of forms associated with 
human feelings 03 
2) Architecture also uses its language to create 
forms associated with human feelings 
3) Context as a design generator ' 14 
4) Activity pattern as a design generator 
5) Higher purpose as a design generator 17 
6) User as a design generator 
7) Polished or shiny surfaces create feeling of 
vitality and luxury 38 
8) Rough textures suggest strength and vibrance 
9) Rusticated or partially worn surfaces create 
feelings of strength and vitality, 39 
10) Green, Yellow, Red coloured display signs 
indicate naturalness, and freshness of 
vegetables and fruits 41 
11) Light Blue coloured signs indicate freshness 
of sea food 
12) Emphasizing individuality non uniform 
lighting Directed toward ceiling with 
uniform wall lights 47 
13) Impression of intimacy up ward lights 
directed toward ceiling with unifomi 
wall lights 
14) Perceptual clarity uniform white lighting 48 
15) 'Agora ' the Greek market place 51 
16) 'Stoa' is the main building in 'Agora' 
where formal merchandising took place 14 
17) 'Forum' the Roman market place more 
complex than Greek 'Agora' 54 
18) Arcades attract window shoppers 56 
19) Modern marketplaces are fashionable 
form of entertainment places 58 
20) External facade designs act as a sign for 
shoppers. 
21) Closed back shop windows for greater 
shopper attention toward specially designed, 
exclusive products. 64 
22) Open backed windows for shoppers 
comparative judgement of products 
displayed in shop interior 
23) Physical transition through higher 
scaled entrances create sense of 
importance. 66 
24) Getting shoppers attraction by 
emphasizing image through design 
elements. 
2 5 ) Interior design elements can be use 
to restore shoppers commitment 67 - 68 
i) Decorative signs act as identification 
elements for display area 
ii) Product information as a part of 
display design help to create user 
awareness about the product 
26) Display flexibility allows periodic 
product display changes 73 
i) Movable display fixtures create 
interest in routine shoppers experience 
ii) Less restrictive sign criterias allow 
flexibility in establishing display area 
countries. 
27) Customer product selection for purchase 
can have several steps 75 
28) Assisted service type display minimum 
staff assistance 78 
29) Personalized service type display sales 
* person method. 
30) Self Service. 7 9 - 8 0 
i) Typical plan showing continous display 
line and counter position in the front 
ii) Sales counters at the entrance 
iii) Typical product display. 
31) Efforts create commitment User is 
encouraged to stay more time inside 83 
32) Social proof attract people in to or in 
front of shopping area. 
33) Foodcourts, and restaurants shoppers to 
watch each other. 87 
34) Soft and hard landscaped areas act as an 
oasis for tired shoppers. 87 
i 
Indoor shopping streets, arc safe, 
free from traffic and out of rain a 
perfect atmosphere for window shoppers. 
Entertainment facilities are shopper 
attracting magnets 
Hot dog stand direct unambiguous sign 
Big donut drive in 
Breaking down the personal controls 
and persuade to involve in buying 
Extrovert merchandising environment, 
with, open, alive arid active qualities 
These have outward oriented 
dynamic character Introverted 
merchandising environment 
"Protruding" colour schemes and 
greater internal spatial division create 
reserved, cosy character 
These spaces have inward oriented 
character. 
Shopping as a theatre Using combination 
of different lighting systems, textures, colours, 
and forms, takes shopper in to flight of" 
fantasy. 
In these environments elements of 
drama and surprise are crucial. 
"Minimal" design approach emphasizing 
Quality and bargain 
47) In "Ware house" approach, merchandise 
is allowed to speak itself. 
48) Traditional and nature related design elements 
supports routing shopper decision making 
49) Similar colours, patterns, and textures, in 
entrance lobby area, build up shopper 
commitment. 
50) User related decorative patterns and 
shapes with natural colours indicate 
naturalness, & good quality of products 109 
y 
CONTENTS 
A C K N O W L E D G E M E N T 
LIST OF ILLUSTRATIONS 
C O N T E N T S 
INTRODUCTION 
C H A P T E R O N E A R C H I T E C T U R E AS AN 
EXPRESSIVE ART. 
1.1.0. SUBJECT EXPLANATION 
1.2.0. N E E D OF THE STUDY 
1.3.0. INTENTION OF THE STUDY — — 
1.4.0. M E T H O D OF STUDY 
CHAPTER TWO ARCHITECTURAL DESIGN 
CHARACTERISTICS. 
2.1.0. DESIGN CHARACTERISTIC 
2.2.0. CONSTRAINTS AND GENERATORS 
IN DESIGNING SPACES 
2.3.0. CONTEXT AS A GENERATOR 
2.4.0. ACTIVITY PATTERN AS A GENERATOR 
2.5.0. HIGHER PURPOSE AS A GENERATOR 
2.6.0. USER AS A GENERATOR 
2.7.0. UNDERSTANDING USERS 
2.8.0. ORGANISATION OF AN E N V I R O N M E N T 
2.9.0. RESPONSE TO PLACES 
C H A P T E R THREE A R C H I T E C T U R A L SPACE MAKING 
AND USER PSYCHOLOGY 
3.1.0. FORM OF THE SPACE 
3.1.1. PRIMARY FORMS AND SHAPES 
3.1.2. VERTICAL AND HORIZONTAL PLANES — 
3.2.0. INTERRELATIONSHIP OF SPACES 
3.2.1. SPACE WITHIN A SPACE 
3 2 2 VERTICAL AND HORIZONTAL PLANES 
3 2 3 ADJACENT SPACES 
3 2 4. SPACES LINKED BY A COMMON SPACE 
3.3.0. SCALE AND PROPORTION 01 SPACES 
3.4.0. PHYSICAL ATTRIBUTES OF ENCLOSURE PLANES 
3.4.1. HUMAN REACTIONS TO TEXTURE 
AND APPLICATION -
3.4.2. HUMAN REACTIONS TO COLOUR 
AND APPLICATION 
3.4.3. HUMAN REACTIONS TO THE LIGHTING 
C H A P T E R FOUR HISTORICAL B A C K G R O U N D 
A N D T H E EVOLUTION OF T H E 
M A R K E T PLACE 
4.1 0. MARKET PLACES IN EARLY SETTLEMENTS 
4.2.0 "AGORA" THE GREEK MARKET PLACE 
4.3.0 "FORUM" THE ROMAN MARKET PLACE 
4.4.0 MARKET PLACES OF MIDDLE AGES 
4.5.0 MODERN MERCHANDISING ENVIRONMENTS —-
C H A P T E R FIVE D E S I G N I N G M E R C H A N D I S I N G 
E N V I R O N M E N T (61) 
5.1.0. C O N S U M E R PERCEPTION OF THE. 
MERCHANDISING ENVIRONMENT 
5 1.1. DESIGN ELEMENTS OF EXTERNAL F A C A D E - (61) 
DISPLAY ELEMENT 
TRANSITIONAL ELEMENTS 
IDENTIFICATION ELEMENTS 
5.1.2. INTERNAL SPATIAL DESIGN (65) 
DISPLAY AREAS 
SERVICE AREAS 
CIRCULATION A R I A S 
5.2.0. BASIC CONSUMER REQUIREMENTS (69) 
5.2.1. EXPRESSIVELY (70) 
5 2 2 FLEXIBILITY — 
5 2 3 EFFICIENCY (71) 
5 2 4 SAFETY A N D SECURITY (81) 
5 2 5 PROMOTIONAL FEATURES (82) 
5 2 6 USER FACILITIES (85) 
C H A P T E R SIX E X P R E S S I V E L Y IN M E R C H A N D I S I N G 
E N V I R O N M E N T S (92) 
6.1.0 MATERIALISTIC AND NON MATERIALISTIC 
C O N S U M P T I O N 
6 2 0 UNCONSCIOUS NEED OF SIGN/SYMBOL 
C O N S U M P T I O N — (97 
6.3.0 MANIFESTATIONS OF EXPRESSIVELY (98) 
6.3.1. MERCHANDISING E N V I R O N M E N T S 
EMPHASIZING INDIVIDUALITY 
DIFFERENT TYPES PERSONALITIES 
DESIGN CHARACTERS (99) 
6.3.2. MERCHANDISING ENVIRONMENTS 
DESIGNS EMPHASIZING E C O N O M I C A L 
PURCHASE (100) 
6.3.3. M E R C H A N D I S I N G E N V I R O N M E N T DESIGNS 
CREATING THE THEATRICAL EXPERIENCES - — (103) 
6.3.4. MERCHANDISING ENVIRONMENTS 
DESIGNS RECALLING HISTORICAL 
AND NATURAL CHARACTERS. - (104) 
CONCLUSION (112) 
BIBLIOGRAPHY (114)