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Graphic image and interior design
According to Tony Morgan (2010), in his book Visual Merchandising: Showcases and Commercial Interiors, he expresses that this visual marketing term is used to increase the sales of a business, getting the user to enter the store because of what he sees from the outside.
Once the commercial image is defined, it is easy to identify the common points on which the architecture will be based in order to be another resource for commercial communication. In this way we find similarities, such as: corporate design with architectural design, corporate communication with architectural language and business behavior with architectural functionality.
Thus, the architecture becomes one more means of the organization to transmit the corporate identity to its different users (customers, suppliers, employees...).
Architecture must also become a competitive and differentiating tool that sends a message to all users who come into contact with it and helps to strengthen the desired company image.
In addition to being a communication tool, it is also a functional tool.
This power to enhance the image improves the work environment and, by improving its positioning, improves employee productivity.
Taking the commercial design of food services as an example, we cite that in terms of graphic image, global restaurant consultants Aaron Allen and associates (2016) recommend taking into account the following points:
1. BRAND PERSONALITY
Brands, like people, have personalities. A person may be known to act or behave in a certain way. So will your brand. Your brand personality must be defined and programmed. This programming must occur before the first sketch of the restaurant design is even considered.
2. BRAND SLOGAN
We'd all like to think we have integrity, saying what you're going to do and then doing it when you say you will. For a brand to have integrity, one must establish a distinct set of promises that differentiate and define that brand. When promises are delivered with integrity, the result is a strong brand.
3. BRAND POSITIONING
You don't just want to be considered the best of the best; you want to be considered the only one doing what you do. The idea of "improvement" (we have a better hamburger, better restaurant design, etc.) is subjective. When you are the "only one", you become an exclusive supplier and can dominate a market.
4. PACKAGING
We often don't consciously think about our cutlery when eating in a restaurant, but it can give an impression of the food before you take your first bite. Light, flimsy, cheap silverware will give the impression of light, flimsy, cheap food. This is why you will notice that many high-end steakhouses use large, heavy knives. The tableware is reflected in the restaurant and should be considered in the overall restaurant design and concept development.
5. RESTAURANT MENU DESIGN
The most important piece of marketing material for a restaurant is its menu. A menu cannot be viewed simply as an inventory list of items for sale with the corresponding price. It should be seen as the most important tool to showcase your restaurant's offerings, culinary philosophy, and brand attributes. Weight, size, paper stock, presentation, fonts and typefaces, photos, use of language, and more are all important considerations in your restaurant menu. The menu should be seen as an extension of the restaurant's design, fully integrated into the brand's personality and positioning.
*If you are interested in more about this topic, I recommend you see the publication La Markesina
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Written and curated by Sarah Tió | Publicado el 17 de Abril, 2021.
