# data[].attributes.attachment_link.description
Hello gorgeous... welcome to the wonderful world of Lush Lush was founded in 1995 by six co-founders; Mo Constantine, Mark Constantine, Rowena Bird, Helen Ambrosen, Liz Bennett and Paul Greeves.

# data[].attributes.body
Upload a copy of your module briefs along with any notes you have made to help you deconstruct your brief.

# data[].attributes.body
Create a timetabled plan for the module

Site analysis

(more info on what I need)

Brand analysis

Narrative

Case study

User analysis

Outline of concept paragraph

All presented in padlet and sketchbook

Design development

Iteratively design-  showing every design stage

Show why you are carrying out certain design decisions or not

Preliminary design research- considering aspects of the space before designing. The direction of natural lighting in the area informs the location of products.

after preliminary research - how it creates an impact or informs the design decisions.

Creating a design narrative/ story.  Visual

Guided exercises

write down all exercises

Orthographic drawings

x1 General Arrangement Plan per floor @1:100

x1 Furniture Plan per floor* @1:100 with schedule containing specification information (manufacturer, product, finish, colour, size, image)

x1 Finishes Plan per floor @1:100 (to tie into material sample board) with schedule containing specification information (manufacturer, product, finish, colour, size [where appropriate], image)

x1 Lighting Plan per floor @1:100 with schedule containing specification information (manufacturer, product, finish, colour, size, image)

x2 Sections* @1:100 showing furniture and your volumetric design.

x2 Perspective Views* (Digitally or Hybrid Rendered)

x1 Partial Axonometric @1:100

*Final drawings that have to be professionally rendered

x1 Furniture plan per floor

x2 Sections

x2 point perspective views

Industry-standard material sample board

Tables containing manufacturer, product, finish, colour, size, image

Model

Create model - 1:100 scale

Photos of model

A1/A0 presentation board

Your name

Short blurb of final design narrative

final orthographic drawings

# data[].attributes.headline
Module Project Briefs - ARC4025 Design Devices

# data[].attributes.subject
Module Project Briefs - ARC4025 Design Devices

# data[].attributes.body
checklist:

A3 portfolio

design process

Record of all studio exercises (exported from padlet)

A series of 2D Orthographic drawings produced in AutoCAD and plotted to scale

Professional showcase

A showcase of your best orthographic drawings and development from your project uploaded to an external platform (Behance, LinkedIn or a professional Instagram page). Screenshot to be included in your A3 portfolio.

Documentation showing the development of a personal brand/professional profile.

# data[].attributes.headline
Your Site: Apple Birmingham Flagship Store. 

# data[].attributes.subject
Your Site: Apple Birmingham Flagship Store. 

# data[].attributes.body
This is the site for both ARC4024 and ARC4025

Address:

128 New St, Birmingham B2 4JH

# data[].attributes.attachment_link.description
Find local businesses, view maps and get driving directions in Google Maps.

# data[].attributes.attachment_link.readable_text
Continuing the occasional series about notable Apple Stores, AppleInsider visits Apple Birmingham in England to see a gorgeous example of the company's preservation of architectural history.

Apple has occupied the New Street, Birmingham building since 2016, but it was first constructed in 1879. Back then, it was the imposing offices of the Midland Bank, with an opulent, open, huge banking space.

Subsequent owners cut that space down and filled it up with retail shelves, but Apple was keen to restore it. According to plans seen at the time by local newspaper the Birmingham Evening Mail, the architects were specific about returning the space to what it once was.

"It is our intention to reinstate the space back to the single generous volume and character when used as a banking hall by Midland Bank," the plans state. "Retail trading will be confined to the ground and lower ground floor level, to impose on the public's experience of the space as originally intended when used as a banking hall."

Birmingham New Street

Even few local residents know this, but where Apple Birmingham sits is strictly speaking called the Queen's Corner. That name is written in stone high up on one of the other buildings at the crossroads where New Street and Corporation Street meet.

Corporation Street then immediately becomes Navigation Street as it, and its new tramlines, go down and behind Apple Birmingham to reach Birmingham New Street Station. That's one of the country's busiest rail stations and yet New Street itself has been through many years of declining footfall, brought on by the construction of the Bullring shopping center at another end of the street.

When that was new in 2003, it so sucked the life out of New Street and High Street that more people wondered whether it was properly spelt "Bullring" or "Bull Ring" than went to the old shops.

Apple played its part in that, too, as in 2005, Apple Bullring opened inside the shopping center. This store was broadly modelled on the original US ones, in a space that was narrow, if quite long.

It was also a double-height store, but only the one floor was used for retail. The rest may have included support and repair spaces, but it was all fronted by a large, glowing Apple logo.

This store occupied its 4,000 square feet until the day Apple opened its Apple Birmingham store on New Street -- with 20,000 square feet.

For many months, the Bullring was unable to fill the space Apple left. So for that time, instead of the small store's glass doors, the space was boarded up and Apple displayed a note.

"We would never leave you," it began, before directing people to its new store.

Exterior Bank, Interior Bookshop

Records are spotty about how often the Midland Bank building changed hands, but ask a local and they will tell you it went from the Bank, to Waterstones' Bookshop, and now to Apple. It's possible there were briefly some other bookshops there, though.

It's really Waterstone's that turned the bank into a retail space, however, and, for majority of Birmingham residents and visitors, provided their first look into the building.

Waterstone's took over in the 1990s and one estimate was that its shelves held 100,000 books. Those shelves were spread over five floors plus a split-level basement and if that wasn't enough, there was a second Waterstone's store just by the Bullring.

That other store remains open and busy to this day, but the huge one in the bank building is missed.

How it used to be. View from the stairs in Waterstones' Bookshop, shortly before its closure in 2015. (Source:
Flickr)

Or rather, its cavernous size and its wide range of books are missed. There is one thing about the bookstore that Waterstone's management said they couldn't do anything about -- but Apple did immediately.

A huge portion of the main hall used to be taken up with long, wide, sweeping and decidedly steep steps up to the next level. Once you got above a certain height on the stairs, though, you could see the tops of the shelf units ranged around the floor.

Compared to the very neat front and sides, those tops of the shelf units were supremely dusty and looked even unpleasantly dirty.

Once Waterstone's closed the store, though, and Apple bought up the empty space, those shelves were completely removed. So was the stair case.

Today, then, Birmingham residents used to wandering more than five levels now walk in to what appears to be just one.

Busy, open space

When AppleInsider visited on a Sunday afternoon in early March 2023, the roof of the main entrance looked like a cathedral. And the floor looked packed.

Some 80 customers were being helped by around 15 staff. On a cloudy day, the interior of the space was bright and welcoming.

There are a series of ornate chandeliers that were lit, but light also came from nine enormous windows. Ranged around two walls, the nine start just above head height, then extend almost up to the extra high ceiling.

From the center of the retail floor, you can also see all the way up to the top of the building and what appears to be a carefully restored, and definitely elaborate, skylight.

Basement area

While it initially looks like Apple is occupying only the ground floor, it's noticeable that there are no shelves on the walls. This space is entirely given over to tables with products on, and the walls that do not have huge glass windows, do instead have huge Apple posters.

That's because all of the accessories that are typically displayed on wall shelves are in an almost hidden basement area. The entrance to it consists of gray stone stairs that are wide and open, but because it is right at the back of the store, it's easy to miss until you walk up to it.

If you then walk down the stone stairs into the basement, you come to a much smaller, much darker area. It probably extends about a fifth of the same length of the main retail floor, but it seems narrower.

It's also interrupted by four large pillars, which roughly divide the space into areas for different products. The shelves contain the usual array of accessories, and they surround a series of tables.

Most of those tables are displaying much the same lineup of MacBook Pro and iPad models as the main space, but this is also where Today at Apple happens.

Compared to stores like London's Brompton Road one, the Today at Apple space is tiny. It's really a single store table with a movable monitor at one end.

While AppleInsider was there, an Apple Genius was leading a Today at Apple session about using Procreate on the iPad. While small, the space was full, and there were iPads, each with an Apple Pencil, to spare.

It's definitely a disadvantage that this area is so small, but the overall feel is welcoming, even cosy. It was also busy with around 30 customers were working with about 9 staff, and the slight darkness made all of the screens seem brighter.

Outside the store

New Street Birmingham is typical of many English cities in that at eye-level, everything is modern and new, with every storefront made of glass. But lift your head just a fraction, and almost every building clearly dates back at least decades.

That's every building except Apple's. Apple Birmingham looks its age, in every good sense of that phrase, standing there as if designed in the 1800s but so clean and fresh that it looks built today.

The street has yet to quite regain its position as Birmingham's busiest, since the Bullring took customer footfall and COVID made an impact. But it is regaining it, and every December, the whole run from the shopping center and past Apple to the Birmingham Town Hall is lined with stalls for the Christmas market.

As with so many of Apple's stores, Apple Birmingham is unique -- even within the UK. Compare it to the newest store, Apple Brompton Road in London, and to the radically different Marina Bay Sands store in Singapore.

Read on AppleInsider

# data[].attributes.attachment_link.title
Inside Apple Birmingham: Preserving a 144-year-old building - General Discussion Discussions on AppleInsider Forums

# data[].attributes.attachment_link.description
Continuing the occasional series about notable Apple Stores, AppleInsider visits Apple Birmingham in England to see a gorgeous example of the company's preservation of architectural history.

# data[].attributes.body
lighting/ heating

when adding the mezzanine, the chandeliers will need to be shortened. I will also have to consider how the area under the mezzanine will have to be lit well

I will also have to consider the effect that the UV rays will create on the materials will choose. It may cause materials to change colour, crack or become weaker

the new mezzanine flooring will also need to include under- floor heating if possible.

site preservation

many of the features in the building will have to be kept e.g moulding, structural columns and sound panels. the intricate moulding has inspired me to incorporate deocrative elements for the store.

the building will benefit from more sound panels being added.

layout

symmetry is a very prominent theme throughout the building, so I will take this into account for the layout of the building.

acoustics

the building will benefit from more sound panels being added.

adding more furniture and softer materials e.g. carpet will help to dissipate the reverberation in the space

the building's original structure must be kept. Steve jobs reopened his quarry to be able to use a similar material to the ones already existing on the site (stone)

the current materials used in the building must only be refreshed with paint with dents, holes and cracks repaired

# data[].attributes.body
drawings were very good

communicate scale better by using scale humans in model pictures and drawings

use better fonts

current pdp's

I would like to think more about the use of lighting in my plans

research more in depth

explain reasons for design choices, especially in the later and final stages of design

# data[].attributes.body
the brand is respected worldwide for many things such as standing up against animal testing, organic ingredients, and their strategy of minimising waste to reduce their environmental impact.

The main products they sell are their iconic bath bombs and hair care

the brand was founded in 1995 in Poole

the store sells handmade cosmetics with no plastic or recyclable packaging. By recycling in-store, customers get the incentive to come back as they are offered deals and discounts.

they aim to make 100% of their packaging compostable and recyclable

the brand has a passion for protecting the environment, ethical trade and business practices

they believe that customers should be able to invest in their self-care routines after a long day of working, while being sure that it hasn't costed any harm to life or the environment.

customers buy from Lush because they align with their values and goals

lush also makes it a point to support and collaborate with charities and good causes e.g. Have a heart, a cause that is seeking to outlaw conversion therapy.

their products do have high price points, but it is justified as LUSH are very thorough in the process of how and where their materials are sourced.

friendly customer service:

upon entering the store, the staff welcome you and are ready to answer questions about the products you have your eye on.

this gives the customer a personalised experience which is common for luxurious stores.

store design

seating available for shoppers wanting to test out products and have relaxing an personalised experience

the use of black envelopes the space, making it seem smaller and intimate.

spotlights and soft overhead lighting

the use of timber indicates what type of products are being sold

smooth flooring for easy cleaning/mopping after water spillage from trying out products

# data[].attributes.attachment_link.title
Authentic and engaging images from Offset

# data[].attributes.attachment_link.description
Birmingham, England - May 30, 2017: The interior of the historical bookshop Waterstones in New Street

# data[].attributes.body
-natural forms and elements

# data[].attributes.attachment_link.readable_text
2023 Best of Year Winner for Bar/Lounge

The suprematist art movement, an early 20th-century style associated with manipulating basic shapes and colors to channel pure emotion, inspired the trippy geometric forms of Le Bar, a 2,000-square-foot watering hole in Nanchang, China. Matrix Design used different hues of light to distinguish each space, from the edgy VIP room to the warm and inviting central bar. The effect is accentuated by glass partitions that diffuse floor- and ceiling-mounted LEDs into a soft, ethereal gradient, lending the entire space an energetic yet dreamy quality. Additional accents include textured wall paint and antique brass fixtures. It's the layering of these simple elements that creates a bold effect.

PROJECT TEAM

MATRIX DESIGN: wang guan; liu jianhui; wang zhaobao.

# data[].attributes.attachment_link.title
Trippy Geometric Forms Shape This Award-Winning Bar Design

# data[].attributes.attachment_link.description
Explore the ethereal hues in Le Bar, a 2,000-square-foot watering hole in Nanchang, China, by Matrix Design, which took home a Best of Year Award.

# data[].attributes.body
dark materials with soft lighting

# data[].attributes.body
modular shelfing

adaptable lighting

# data[].attributes.body
"infusing high tech and nature's wonders"

the customer's journey starts with being educated about cbd products with screens

-the store provides private consulting by experts giving recommendations

this gives an immersive and personalised experience for the shoppers

the store being seen as a clinical setting makes it appear as trustworthy and will welcome curious customers

colours represent what type of product is being sold

# data[].attributes.body
millenials and gen z mostly order products online

this means that when they want to buy products in-store, they expect to go through an experience that represents the brand's story. they want to be guided through the brand's values

the distinct eye catching colour scheme draws the target audience in

the client wants the store to be "instagrammable" and trendy to increase footfall. the message of the brand needs to be clear through each section of the store

service provided- robot mixing the perfect shade of foundation for customers. creates a personalised experience for the customer

# data[].attributes.attachment_link.readable_text
Following on from the successful House of Colour Play store concept launch in 2017, ETUDE wanted to revisit the sweet and playful aesthetic of the brand's roots with a renewed retail identity.

To appeal to today's more digitally native customers we were asked to transform the retail store environment focusing on the experience and introducing digital content from the brand's online world.

_Research & Insight
_Retail Strategy
_CX Strategy
_Retail Identity
_Messaging & Narrative Strategy
_Environment Design

_Idea_

The client wanted a best-in-class global store concept that presents shopping as a fun, engaging, and completely omni-channel experience. We were tasked with building a playground of cosmetic retail that layers experiential and interactive elements to redefine the role of physical retail in the beauty sector. This included amplifying brand voice from digital platforms to communicate the ETUDE House story and ethos.

A house of beauty and a place for dreaming

_Insight_

Design4Retail were engaged to provide creative and strategic services to ensure the heart of the concept shone through - playful pink, personalisation, digital content, and engaging display tools to help customers discover their perfect colour products! Personalisation is offered across a multitude of products, from an interactive skin scan and foundation mixing station where your product is delivered by robot, to play tables where palettes can be built with your own choice of colours and decorative elements, such as stickers and engraving. In-store messaging focuses on the emotional pay-off and the ETUDE House values of Playful, Trendy, Lovely with eye-catching and emotive category naming and invitations to test and play.

_Realisation_

Play, discovery, and choice is at the heart of the store activity. Our concept creates a home for customers - a house of beauty and a place for dreaming. The reinvented store concept direction returns to the classic ETUDE-owned device of the colour pink. The new store concept reinvents this and moves away from the static use of a single tone and creates a dynamic environment with a multitude of textures and shades of pink that reflect and amplify the brand's core colour, differentiating from competitors in the landscape. Filled with texture, innovative VM, and personalisation opportunities the retail identity is a playground for makeup. Strong thematic zones of product allow for total immersion in each category or product family - a hyper stylised space where narrative and brand storytelling uplift product selling. Products shine in their own display areas and each turn gives new vistas and hidden treasures to explore. You will find the new store concept in the flagship store in Sinchon-dong, Seoul, South Korea with future store/s to follow.

Testimonial

Our brand was looking for a new partner to design a store that would differentiate itself from other cosmetics brands. Looking at portfolios such as 'Too Faced' and 'Charlotte Tilbury', we found d4r - a brand that embodies unique concepts in stores. During the project d4r suggested appropriate concepts and designs based on a high understanding of our brand; completed professional design based on experience in designing cosmetics-related stores; completed the design within the planned schedule due to fast work speed; communicated with cooperation and detail; and had reasonable costs comparable to design quality and data provided.

Da Young Cho, Retail Design Team, ETUDE

# data[].attributes.attachment_link.title
ETUDE House Case Study, Retail Identity - Design4Retail‎

# data[].attributes.attachment_link.description
Building on the success of House of Colour Play store concept, ETUDE revisits the brand's playful roots with a renewed retail identity. Take a look

# data[].attributes.body
https://www.design4retail.co.uk/work/pureseoul-westfield/

style notes

-the design correlates to the store name- the feeling of airyness is achieved through light shades of blue and beige . with led backlighting, round and uneven shapes making the visitor feeling like they are up a cloudy sky

-

# data[].attributes.body
most consumers prefer shopping online, so when visiting a physical store, brands must make it a point to prioritise creating a memorable experience and journey when visiting the store.

although the costs of the products are high, LUSH customers are still willing to buy because they are looking to invest in their self care routines, while also making sure products and materials are created and sourced ethically and are creating the least amount of waste

# data[].attributes.body
71% of customers are female

most are middle class, working and like to shop for meaningful products.

other brands of interest:

beauty suppliers (luxury): the body shop, l'occitane

fashion: h&m, zara, uniqlo

news- politics

# data[].attributes.body
customer profiling -basing design on the customer's interests. eg astrology

persona and mentality of the average visitor of the store

making the customer engage with products in an enjoyable way

collaborating with local artists

what demographic do they want to attract in the future

layout

thinking about safety/ security

evaluate competitors

creating a journey for the customer- guiding using colours and form

showing the brand's principles

use of technology- ar cameras/ scanning qr codes

commercial-grade furniture/ fire safe materials/ texture and finishes (practicality of it)

what type of seating and pace you want- resting spaces

space built to evolve- pop up events, product launch

what layers of the brand need to be consumer facing - values

have a reason for design decisions.

consider the visitors who don't want to be there/ how to engage them

# data[].attributes.body
during the pandemic, people became more bold with their choice in colours

“Colors emphasize and accentuate. They are statements that have a special effect on us. Current themes from culture, society, health and the future are reflected in the new color combinations.” Tanja Knura, Brillux

many have started to turn away from modern and minimalist interiors, instead favouring the use of colours, pattern, textures and unique forms.

# data[].attributes.body
temperature

scents and aromas

signage

music

decoration

overly aggressive use of atmospherics might drive some customers away.

I will have to think about creating an experience for customers who aren't the target customer.

# data[].attributes.attachment_link.readable_text
What Are Atmospherics?

The controllable characteristics of retail space which entice customers to enter the store, shop, and purchase are atmospherics. Philip Kotler first identified the use of design atmospherics as a marketing device in 1973. Aspects such as lighting, ambient sound, merchandise layout, and other features are all components of atmospherics. These features are in place to influence a consumer's mood and increase the odds of purchases.

How Atmospherics Works

Nearly all retail stores use atmospherics, even if they are subtle. For example, a big box office supply store may be known for its wide, well-lit aisles and bright red signs. Upscale retail clothing stores will have upholstered chairs or sofas to convey the sense of luxury in shopping and allow shopping companions a comfortable spot to rest and wait. Shops which target teenagers will often use contrasted lighting and loud music. Panera Bread and Subway® are expert at using the atmospherics of aroma like the smell of freshly baked bread encourage purchases. Realtors also employ elements of atmospherics as they stage open houses. Staging allows buyers to picture themselves in the space through the use of furnishings and the scent of freshly baked cookies.

Features of atmospherics include:

A layout of the space including the location of clerks and check out counters

The overall temperature of the retail space

Scents or aromas designed to excite and entice the shopper

The location of pricing information or other signage

Music to inspire, sooth, or stimulate

Decorations which represent the brand

Many retail giants will use elements of atmospherics to help identify their retail brand and set it apart from competitors. One drawback can be an overly aggressive use of atmospherics, which can have the opposite effect, intimidating or driving potential customers away.

Key Takeaways

Real World Example of Atmospherics

The holiday shopping season is a prime time to see atmospheric marketing in action. Stores compete to entice shoppers using holiday music, festive decorations, and even "holiday scents" like pine, vanilla, and cinnamon. They strive to create a sensory experience for their customers, who in turn, may be more likely to spend money on holiday merchandise. For example, Anthropologie, an upscale women's clothing, accessories and home store, owned by Urban Outfitters Inc., relies heavily on atmospherics in their stores, especially during the holidays. Every store has a visual display team, and there are seasonal plans for decorating during each holiday. Store and merchandise design come from the store's corporate headquarters in Philadelphia. Given its level of using atmospherics, Anthropologie's aim appears to offer its customers a shopping experience that is carefully curated, from how a store is laid out, how it smells, and even the presentation of merchandise on the racks and stacks.

# data[].attributes.attachment_link.title
Atmospherics: What it is, How it Works, Examples

# data[].attributes.attachment_link.description
Atmospherics are controlled retail space characteristics such as layout, lighting, sound, and decor which entice a customer to enter, shop, and buy.

# data[].attributes.body
https://www.google.com/search?sca_esv=62c6a59d79590dd7&sxsrf=ACQVn0_2qGS9wDbZyO3jWwMdGuJXbCUQ-Q:1706706932513&q=biophilia+interior+design&tbm=isch&source=lnms&sa=X&sqi=2&ved=2ahUKEwi_rMrj2oeEAxVKTkEAHc9IDG0Q0pQJegQIDBAB&biw=1536&bih=791&dpr=1.25#imgrc=KoRQoLOHlDJckM

# data[].attributes.attachment_link.title
biophilia interior design - Google Search

# data[].attributes.attachment_link.description
office restaurant workplace home living room hotel school healthcare biophilic architecture house

# data[].attributes.body
https://colormetals.com/water-ripple-pattern/?gad_source=1&gclid=CjwKCAiA_OetBhAtEiwAPTeQZwS01liBqpVMMGQK3SLm6WH37NhTxIy1bLI0oQPcO9nFxEMb6yZZGBoCv1IQAvD_BwE

# data[].attributes.attachment_link.provider_name
Color Metal Stainless Steel Sheet Suppliers

# data[].attributes.attachment_link.title
Dive into Elegance: Discover of Water Ripple Stainless Steel Sheets-1

# data[].attributes.attachment_link.description
Transform your space with sophistication and style - get the exquisite water ripple stainless Steel sheet for ceiling today!

# data[].attributes.body
-constructed in 1879

grade 2 listed building

originally built as a bank

it was then a Waterstones bookshop which closed in 2015 and it is now an Apple store.

the shelves were completely removed along with the staircase and now there is a single floor with long desks showcasing their electronics with a basement floor.

apple made sure to preserve the building to what it originally once was

the building originally had a mezzanine, but Apple chose to keep it as a single floor. the space is very grand when you enter the space, which is reminiscent of entering a cathedral. This design choice was made for other Apple store locations.

New street was seen as a new and fashionable street for shopping during the mid 19th century.

source: https://historicengland.org.uk/listing/the-list/list-entry/1219741?section=official-list-entry

other notes:

single glazed windows- heat escapes faster

under floor heating

intricate decorative moulding preserved

replica of original chandeliers used- a good way of preservation of the original site

# data[].attributes.attachment_link.readable_text
Overview

Heritage Category:

Listed Building

List Entry Number:

1219741

Date first listed:

21-Jan-1970

List Entry Name:

MIDLAND BANK INTERNATIONAL DIVISION

Statutory Address:

MIDLAND BANK INTERNATIONAL DIVISION, 128, NEW STREET B2

Location

Location of this list entry and nearby places that are also listed. Use our map search to find more listed places.

This map is for quick reference purposes only and may not be to scale.

What is the National Heritage List for England?

Images of England Project

To view this image please use Firefox, Chrome, Safari, or Edge.

Archive image, may not represent current condition of site.

Reference:

IOE01/01173/30

Rights:

© Mr Geoff Dowling. Source: Historic England Archive

Historic England Archive

Search over 1 million photographs and drawings from the 1850s to the present day using our images archive.

Find Photos

Heritage Category:

Listed Building

List Entry Number:

1219741

Date first listed:

21-Jan-1970

List Entry Name:

MIDLAND BANK INTERNATIONAL DIVISION

Statutory Address 1:

MIDLAND BANK INTERNATIONAL DIVISION, 128, NEW STREET B2

The scope of legal protection for listed buildings

This List entry helps identify the building designated at this address for its special architectural or historic interest.

Unless the List entry states otherwise, it includes both the structure itself and any object or structure fixed to it (whether inside or outside) as well as any object or structure within the curtilage of the building.

For these purposes, to be included within the curtilage of the building, the object or structure must have formed part of the land since before 1st July 1948.
Understanding list entries
Corrections and minor amendments

The scope of legal protection for listed buildings

This List entry helps identify the building designated at this address for its special architectural or historic interest.

Unless the List entry states otherwise, it includes both the structure itself and any object or structure fixed to it (whether inside or outside) as well as any object or structure within the curtilage of the building.

For these purposes, to be included within the curtilage of the building, the object or structure must have formed part of the land since before 1st July 1948.
Understanding list entries
Corrections and minor amendments

Location

Statutory Address:

MIDLAND BANK INTERNATIONAL DIVISION, 128, NEW STREET B2

The building or site itself may lie within the boundary of more than one authority.

District:

Birmingham (Metropolitan Authority)

National Grid Reference:

SP 06999 86775

Details

NEW STREET 1. 5104 City Centre 82 No 128 (Midland Bank Limited International Division) SF 0686 NE 33/25 SF 0786 NW 34/3 21.1.70 II 2. 1867-9, by Edward Holmes; extended towards Stephenson Place and Stephenson Street 1875. Stone. Two storeys; 3 bays. Ground floor with banded rustication, a central arched entrance within a porch with coupled granite Ionic column to the entablature which carries a balcony and 2 arched windows. First floor with coupled giant Corinthian order and with 3 window in frames with pilasters and entablature. Entablature with dentilled and bracketted cornice. Balustraded parapet. Excellent detailing throughout. Long return on Stephenson Place in a similar style, but the first floor order is not coupled. Good iron railings. Inside, a banking hall of 3 x 7 arched bays separated by giant composite Corinthianesque pilasters supporting a heavily coffered roof with central coved glazed part.

Listing NGR: SP0699986775

Legacy

The contents of this record have been generated from a legacy data system.

Legacy System number:

217452

Legal

This building is listed under the Planning (Listed Buildings and Conservation Areas) Act 1990 as amended for its special architectural or historic interest.

End of official list entry

Print the official list entry

# data[].attributes.attachment_link.title
MIDLAND BANK INTERNATIONAL DIVISION, Non Civil Parish - 1219741 | Historic England

# data[].attributes.attachment_link.description
List entry 1219741. Grade II Listed Building: Midland Bank International Division. May include summary, reasons for designation and history.

# data[].attributes.attachment_link.provider_name
Shop Display Blog from Valentino's Displays

# data[].attributes.attachment_link.title
The Psychology of Retail Store Design | Valentino’s

# data[].attributes.attachment_link.description
The psychology of retail design looks at what factors affect the decisions customers make. Here are tips you can use to boost sales via customer psychology.

# data[].attributes.headline
insight into the future shopping experience

# data[].attributes.subject
insight into the future shopping experience

# data[].attributes.body
stores are now becoming a fourth space that "blurs the lines between home, work, leisure and entertainment"

"spaces will become part store, part gallery

and part hospitality.

most consumers prefer shopping online, so when visiting a physical store, brands must make it a point to prioritise creating a memorable experience and journey when visiting the store.

# data[].attributes.body
for this design I want to explore the textures seen in nature and the products lush sell.

the brand also encourages indulgence, so I could explore luxurious materials to provide that feeling to users.

# data[].attributes.body
research more in depth

explain reasons for design choices, especially in the later and final stages of design

# data[].attributes.body
rustic design- communicates the type of clothing sold. basics that are reliable and good quality.

the "clustered" hanging lighting that is still soft, dim lighting around the store immersing the viewer in the essence of the brand

very compact layout, which is not good for high traffic times. the user will brush against the clothing so they are compelled to feel it and check it out

# data[].attributes.body
bold, modern graphic design used.

youthful, directed towards gen z and millenials

# data[].attributes.body
rustic feel- use of wooden boxes, light bulbs, potted plants.

modular shelving systems

grids, contrasting shapes and colours- nod to retro/ memphis style.

layout- product stands dotted around the store, not set to guide the user in a specific direction. clear signage to see what stands have which types of products

additional function: florist, wrap your own gift (eco friendly, reusable cloth wraps)

# data[].attributes.body
pegboards- modular shelving system

# data[].attributes.body
consider conserving significant heritage assets

conservation can be done by:

preservation

maintenance

consolidation

repair

refurbish

reconstruction

revelation (revealing structural materials e.g brick and stone)

extension

you can also create a contrast between old and new

maximise using the materials already used on the site or around the site

# data[].attributes.headline
historic case study- glossier flagship store, London

# data[].attributes.subject
historic case study- glossier flagship store, London

# data[].attributes.body
things that have been done well :

intricate design details have been kept (moulding)

concealed/ backlit areas. highlights the intricate designs in the interior. could be an alternative to spotlights. but could make the space too bright when combined with overhead lighting.

the brand chose materials to match with the building's current ornate design, and gave it a modern take. eg. incorporating the cornice detail on the logo on display

marble features throughout the store

adding a modern touch (wooden parquet flooring) against the arches and cornices. shades of pink throughout the store aligns with the product colours.

the store only has a small number of products to sell, hence the minimal shelving. Lush has larger range of colourful products which are colourful, so I may need to apply a minimalist appearance similar to glossier to balance things out.

# data[].attributes.body
20,000m^2

# data[].attributes.body
my concept will be to create a "bubbly sanctuary", combining the feeling of being in a forest and a spa.

# data[].attributes.body
under floor heating

replica of original chandeliers

7.5m height

# data[].attributes.body
mise en scene

the main colours and concepts used for the majority of the movie to convey a certain feeling.

# data[].attributes.body
"Snarkitecture's approach was to combine contemporary forms and graphics with traditional materials and proportions."

marble seating adds to the high end appearance for the store- may be uncomfortable for users who want to be seated for longer periods

replicating contemporary and historic elements e.g shoes arranged and hung in the form of a teardrop chandier.

lots of features preserved on the site e.g the stair handrails

this inspires me to display products in unconventional ways.

# data[].attributes.body
decompression zone 4-5 metres from the entrance. customers must not be overwhelmed in this area, or else they ignore the products there

most customers turn right when entering the space

# data[].attributes.body
-create a clear connection with the site and brand in order to create a design solution.

-use the shapes seen on the products as well as the shapes seen on the site,

# data[].attributes.body
fragrance should be at the end of the journey instead to not overwhelm the cutstomers

# data[].attributes.body
dense brass framework- influenced by the symbolic significance of lanterns in Asian culture

the framework guides the users around the store

light fixtures are hung within the frames

the maze-like plan gives visitors a sense of intrigue and makes them want to move around the space to discover more products

# data[].attributes.attachment_link.readable_text
A lattice of brass rods creates see-through surfaces that extend throughout the interior of this shop in Seoul, which was designed by Neri&Hu for Asian skincare brand Sulwhasoo (+ movie).

The Sulwhasoo Flagship Store is situated in the South Korean capital's Gangnam district and occupies a five-storey building that was renovated to provide the brand's first dedicated retail space.

The building's renovation was overseen by Chinese studio Neri&Hu, whose recent projects include the largest ever retail department at London store Selfridges, and a flagship store for fashion brand Comme Moi featuring custom-made display rails and cage-like cabinets.

Neri&Hu combines Japanese and Californian design for Selfridges' Body Studio

The design is influenced by the symbolic significance of lanterns in Asian culture, as tools for illuminating people's travels and marking the beginning and end of a journey.

The facades incorporate large openings that allow the warm tones of the interior to glow through.

The spaces are arranged to create an evolving experience across the various floors, starting on the ground floor, where a seasonal product display is located close to the street-facing windows.

This level also accommodates an area dedicated to the brand's heritage and philosophy.

Slender brass rods join together to form geometric volumes, enclosing an outdoor terrace visible from the street.

This element reappears inside the building and provides a sculptural detail that continues through a series of voids and openings that define the store's interior.

"Neri&Hu aspired to create a space that appeals to all the senses, that captures the customer immediately as they approach the building, creates an experience that continues to unfold during the journey through the store, and leaves a strong impression with visitors long after they have left," said the architects.

"This is what led to the lantern concept, where a continuous brass structure is the element that ties the whole store together, guiding customers while they explore the full extent of the space."

The sense of endlessness achieved by the dense lattice is accentuated by round mirrors integrated into gaps between the rods. Light fixtures are also suspended from the structure, helping to illuminate the merchandise displayed.

Each of the shop's floors has a specific function, with the main boutique and gift-wrapping service joined by a reception area and multifunctional auditorium on the first floor, and lounges including a VIP room on the level above.

One of the store's two spa areas is located on the third floor. It includes a series of treatment rooms, two foot spas, a powder room, a courtyard and a staff room.

A more luxurious spa offering treatments based on Korean medicinal herbs is situated in the basement.

Wide timber floor boards give the interior a warm, natural feel. These extend across the sides of plinths featuring solid stone tops, on which the company's products are displayed.

Across the various storeys, different moods are achieved by altering the materials used. In the basement spa, dark brick walls, wooden flooring and grey stone flooring in the treatment rooms lends these areas a relaxed and intimate atmosphere.

The palette becomes gradually lighter as visitors ascend through the building, until they reach a roof terrace where the lattice structure creates an airy separation between lounges with different views of the city.

"The journey is a constant contradiction between two counterparts: enclosed to open, dark to light, delicate to massive," the architects added.

"The holistic approach to the lantern concept - from space-making, to lighting, to display, to signage - gives visitors a sense of endless intrigue and urges them to explore the spaces and products with passion and delight."

Photography and video by Pedro Pegenaute.
Project credits:
Design Team: Lyndon Neri and Rossana Hu (principals in charge), Anne-Charlotte Wiklander (associate in charge), Sela Lim (designer), Yinan Li (designer), Kailun Sun (designer), Brian Lo (senior associate in charge of product design), Nicolas Fardet (associate in charge of product design), Christine Neri (senior associate in charge of graphic designer), Haiou Xin (graphic designer), Litien Poeng (graphic designer)

# data[].attributes.attachment_link.title
Delicate brass framework dividesNeri&Hu's Sulwhasoo store

# data[].attributes.attachment_link.description
A lattice of brass rods creates see-through surfaces that extend throughout the interior of this shop in Seoul, which was designed by Neri&Hu for Sulwhasoo

# data[].attributes.body
spiral staircase leading up to the mezzanine

# data[].attributes.body
symmetrical staircase- matches with the symmetrical interior

the mezzanine can be retrofitted with 2nd floor so visitors can access it via the lifts for accessibility

rounded form- following the motif of the arches in the space

# data[].attributes.body
the dramatic and rounded form provides space for seating

this shape inspires me heavily due to it being suited to the symmetrical interior.

I could also utilise the space underneath the stairs for product displays/ services.

overhead lighting (from the skylight) could provide an interesting shadow.

# data[].attributes.body
stairs could take up too much space than needed

lift required for accessability

# data[].attributes.body
ambient lighting

uniform illumination

establish the general ambiance of the space

accent lighting/ decorative

-directional lighting to put emphasis on a certain object

task lighting

supplement lighting to help focus on a task

decorative lighting

in the apple store

ambient lighting- hidden led lighting reflected off the ceiling. also highlights the details and textures on the ceiling

spot lighting gives lighting to the products

no task lights because the products themselves emit light

must use a combination for a good balance and to mitigate glare

think about the angle of lighting e.g spot lighting. directed at points of interest

colour temperature/ coloured lighting

precedent- nike house of innovation

combine material colours and finishes with coloured lighting to set the mood

Precedent- riggs hotel washington

# data[].attributes.body
Instead, the landing will be extended to display more products. The height of the mezzanine will have to be taller

# data[].attributes.attachment_link.readable_text
Let's start with the basics. What is Biophilia? Biophilia is the inherent human inclination to affiliate with nature that even in the modern world continues to be critical to people's physical, mental health and wellbeing (Wilson 1986, Kellert and Wilson 1993, Kellert 1997, 2012). Biophilic interiors therefore harness this affinity in order to create natural environments for us to live, work and learn.

Design that connects us to nature is proven to inspire us, boost our productivity and even contribute to a stronger sense of well-being. Now more than ever, it's necessary to bring the outdoors in and create indoor environments - biophilic interiors, that reference nature in both obvious and subtle ways.

PRADO RESTAURANT by Arkstudio, Photographer: Rodrigo Cardoso

Biophilic design can reduce stress, enhance creativity and clarity of thought, improve our well-being and expedite healing; as the world population continues to urbanize these qualities are ever more important. Theorists, research scientists, and design practitioners have been working for decades to define aspects of nature that most impact our satisfaction with the built environment.

Unfortunately, modern society has erected many obstacles to the beneficial experience of nature. Most problematic is an increasing disconnect from the natural world, often viewed as merely a resource to be exploited or a nice but not necessary recreational amenity. This increasing separation from nature is reflected in modern agriculture, manufacturing, education, healthcare, urban development, and architecture.

The relationship between humankind and nature can be one of respect and love rather than domination...The outcome...can be rich, satisfying, and lastingly successful, but only if both partners are modified by their association so as to become better adapted to each other...With our knowledge and sense of responsibility... we can create new environments that are ecologically sound, aesthetically satisfying, economically rewarding.
René Dubos, The Wooing of the Earth

NOMA restaurant by Studio David Thulstrup, Photographer: Irina Boersma

PRINCIPLES AND BENEFITS OF BIOPHILIC INTERIORS

In Terrapin Bright Green's '14 Patterns of Biophilic Design ' paper, we learn that the patterns are tools to recognize and articulate the individual elements of what constitutes biophilic design. They use science and psychology to help us define it, so that we can understand how to apply each point when considering human needs within design. Not every space can be designed to incorporate all the principles, but a few contributory Biophilic design elements will collectively enhance the well-being of an interior.

The 14 patterns are grouped into three categories-Nature in the Space, Natural Analogues and Nature of the Space.

NATURE IN SPACE

Direct sensorial contact with nature in a space doesn't simply mean proximity to a pot plant or two. Interaction with the natural world can be tangible from the presence of a stimulating view of nature; or by using plants, water features, natural air-flow or breezes, sounds and scents. Design using this group of patterns will create meaningful, direct connections with natural elements through diversity, movement and multisensory interactions.

1. Visual Connection with Nature - Stimulating views to elements of nature, living systems and natural processes, such as a window with a garden or sea view, potted plants, flower beds, courtyard gardens, green walls and green roofs.

Peter's house by Studio David Thulstrup, Photographer: Peter Kras i lnikoff

2. Non-Visual Connection with Nature - Often undervalued design interactions that stimulate our other senses of sound, touch, smell and taste to remind us of our connection to nature.

3. Non-Rhythmic Sensory Stimuli - The rich sensory stimuli of nature in consistent, yet unpredictable, motion, such as the gentle sway of grasses in a breeze or ripples on water.

4. Thermal & Airflow Variability - The subtle changes in air and surface temperature, humidity and airflow across the skin that mimic natural environments.

5. Presence of Water - To see, hear or touch it.

6. Dynamic & Diffuse Light - Clever use of light and shadow to mimic the lighting conditions or circadian processes occurring in nature.

7. Connection with Natural Systems - An awareness or proximity to natural processes, such as seasonal changes, reminding us of the process of healthy ecosystems.

NATURAL ANALOGIES

With Natural Analogue patterns, we use elements with an indirect connection to nature that create a cue to the brain that sparks the same sense of well-being as the natural world. By mimicking the finer details of nature with textiles, artwork, light, shapes or patterns you can re-create the biophilic human connection, and therefore the healthy responses, to the great outdoors.

8. Biomorphic Forms & Patterns - Symbolic representations within the design of the patterns, shapes, textures or numerical arrangements found in nature.

SARA restaurant by Odami, Photographer: Kurtis Chen.

9. Material Connection with Nature - Biophilic interiors use materials, grains, textures and elements in design that distinctly reflect the natural environment to create an overarching sense of the natural world.

NOMA restaurant by Studio David Thulstrup, Photographer: Irina Boersma

10. Complexity & Order - An abstract but visually appealing concept that uses the rich sensory information of the symmetries, hierarchies and geometries found in nature.

Gift shops created by Koichi Takada Architects inside National Museum of Qatar, Photographer: Tom Ferguson

NATURE OF THE SPACE

The Nature of the Space patterns define how we relate to the building, room or space around us on a deeply human level. We have an innate desire to want to see beyond our immediate surroundings and can be fascinated with the slightly dangerous or unknown. Obscured views, design revelations, installations and moments of mystery or peril excite us and maintain our interest and enthusiasm. Combining these elements with patterns from the other two groups provides maximum impact in biophilic design.

11. Prospect - We have an intrinsic desire to see beyond our immediate surroundings or over long distances, dating back to an anthropological theory of survival. Prospect patterns consider a big-picture view of your environment. Elements of interior design that best represent this include the addition of balconies, oversized windows or skylights, mezzanine levels, open plan spaces or transparent partitions that provide uninterrupted views.

12. Refuge - Like Prospect, the Refuge pattern focuses on the ability to look out over your surroundings, but from the safety of a protected position away from the buzz of central areas of activity. An acoustic pod within an open-plan office, for example, provides a safe haven to concentrate away from noise or stimuli while maintaining a view of the world around it.

13. Mystery - Feel the excitement and unknown elements of the great outdoors in the built environment. The promise of more information, achieved through partially obstructed long-distance views, design revelations, surprising installations or unexpected architectural features, draws us in and engages us with our environment. The success of the Mystery pattern is in the anticipation of what might be around the corner, which creates a strong and undeniably pleasurable human response.

Kojimachi terrace by Nendo, photographer Takumi Ota

14. Risk/Peril - It's the thrill of danger from an identifiable risk coupled with the sense of a reliable safeguard. Evolution designed us for survival. Whether it's a high walkway or a glass wall overlooking a city skyline, the Risk/Peril pattern triggers the rush of living on the edge of safety.

Kojimachi terrace by Nendo, photographer Takumi Ota

BIOPHILIC INTERIORS - RECAP

Not every space can be designed to incorporate all the principles of biophilic design, but there are often many contributory elements that will collectively enhance the interior and the wellbeing (I have wrote more about wellness focused interior design in this post) of those within it. It's more than just the addition of a pot plant or two! Natural light, vegetation, good air quality and ventilation, living walls, natural textures, materials and nature views will provide a positive impact.

Perhaps we don't need such rigorous evidence when it comes to nature contact... Maybe we don't know everything there is to know about human benefits of nature contact, but we have a pretty fair idea, and we know a lot about designing nature into the built environment. And given the pace at which decisions are being made and places built, there is a pressing need to implement what we know. We can't wait for the research. Howard Frumkin, 2008 Nature Contact and Human Health, Biophilic Design

Featured image: HARLAN & HOLDEN DINING by GamFratesi, photo by: GamFratesi

You Might Also Like...

# data[].attributes.attachment_link.title
BIOPHILIC INTERIORS: spaces that reconnect us with nature

# data[].attributes.attachment_link.description
Let's start with the basics. What is Biophilia? Biophilia is the inherent human inclination to affiliate with nature that even in the modern world continues to be critical to people's physical, mental health and wellbeing (Wilson 1986, Kellert and Wilson 1993, Kellert 1997, 2012).

# data[].attributes.body
showing where the lighting, circuits and switches are

label products code in the plans e,g a,b,c,d

create a table/ schedule for the codes,item type, specs, supplier, qty, price, image for the builders

# data[].attributes.body
showing all electrical components

seperate plan created for circuits.

label codes for the lighting/fixture

# data[].attributes.body
naming my concept- creating feelings of indulgence

how I can control how smells travel around the space. eg. seperate areas like pods

link my design with the research of the brand