Now that a reasonable time has elapsed in which all the pertinent actions for the production and manufacture of the elements designed and planned for the showcase have been carried out, the time has come to organize everything for the assembly day.
Even though it may sound like «piece of cake», it could be said that applying it is not that simple. In short, what makes it complicated might be the fact that there are many variables involved. Especially when you cannot be in real-time and the installations are carried out in different cities, or in different locations in the city at the same time.
First, there is something that is fundamental and that is generally overlooked especially when visual merchandising services are provided and that go ignored by both the provider and the contracting brand.
This is the complete disassembly of the previous showcase, the one that is going to be replaced. It seems to be obvious but admittedly is something almost everybody gloss over. And the consequences are that lead times could be extended and inevitably affect the budget and your «goodwill» as a provider. And as a brand too, because you do not want to keep your window shop in a permanent and extended «out of service».
So, there must be a plan for it. As a provider you will have the expectation of entirely empty space, so you can start with cleaning and painting if it is so required. Because the last thing you want is that painters and workers get in touch with mannequins and products. They are not trained for that, their knowledge is part of another field. The product could be damaged, or stained, or handle in a wrong way.
A good point to look through is the starter point, from up to down: ceiling first and then walls, and finally the floor. The glass is better to let it in the very last position, except if it has an awesome or complicated sticker vinyl design on it. Order, it all comes down to get an organized «step by step» and be plenty of discernment to full fill it.
It can be pondered like the following way:
First: Overall cleanliness.
Second: Setting all protections before paint and then start with painting.
Next: Installing all wall stickers.
Then: Hanging all props that are floating: mobile, lamps, danglers, etc.
After that: Connecting and hiding wires and electrical sources.
Finally, the floor.
And the last thing:Mobilier and mannequins (already dressed).
All that to follow a sequence in which things installed will not be damaged. But as it was said before: «easy to say, then harder to do it!».
Even with this, the list of all props, stickers, elements, and so; must be ordered in the way that would be easier to identify them and subsequently to avoid an unnecessary headache in the case something is missing.
There have been cases in that something does not fit into his place in the window shop or it is not according to the design. And then, just if this is the case, it is time to activate your mindedness and use your creativity to the fullest in order to circumvent the obstacle. Of course, must seek «where» was the mistake, and take action to solve it, just to know if it was your glitch and identified it before it gets huge and causes more damage in your future designs.
Meaning, if it was your mistake you must identify it and correct it, in order to see if it was the bad measurement taken, bad communication, or something wrong in digital files. And if it was the provider fault then ask them to fix it.
Another important item is the one that answer this question:
Do all elements and props fit through the window entrance? and before this question another one: Do they fit into the lorry? Inside the one that is going to be used to carry them to the store. Again all these could sound obvious, but in practice, almost anybody is aware of that.
Been careful when installing all elements is a must. Because the more you care about the way you do your work then, the best it looks like when finishing it. It is a matter of value and not a cost. When you are careful you are professional, and you give value to your work, and then it shines by itself, and consequently, everybody realizes that.
A detailed work enhances the impact of your shop window and catches the attention of unsuspecting walkers, because of your work it became a brilliant and successful showcase and gives people a theme to talk about.
Mobilier and mannequins can be put into the case (the shop window). Already dressed, mannequins´ clothes must match with the palette (as far as possible) and the main design because they are the principal part of this story (for fashion retailing).
Of course, you can use the Color Theory you most like. You can go with Van Gogh´s theory, to harmonize according to his well-known knowledge in this matter, that personally I consider the best. Or you can apply the triads, the splits, or the use of analogs, all that theory you can pick from the color wheel according to Goethe.
Once you have all the display elements settled you can look from outside and make little adjustments that might have been required. It is a systematic and recurrent recourse the action of aligning all the nose and faces from mannequin groups pointing in the same direction. But «where» does this recourse come from? I do not have researched yet.
As it was seen in the previous photos, all those little details make a big difference altogether. If you start to get picky and analyze in a deep way you could find that there are many many little details that construct the whole package.
Finally, it is time for installing vinyl stickers on the glass. The small one featuring the campaign copy, or a promotion, or an accessory for the main decoration set. They are an excellent way to create that impression of depth. And playing with them is a ludic way too, depending on the manner you stick them on the glass. (Inside the glass, or outside, or both).
Vinyl stickers are an excellent and cheaper way to enhance a window display. You can get them from solid colors to printables designs you desire. And they give the designer a great number of possibilities to play with them. But «that is a horse of a different color» and we can talk about them in the next entry.
The ad campaign made for ATL media (TV, radio, cable, streaming services, or even social media), must be implemented as it is, no matter what, into the shop windows. The problem might be (if there is any) that all advertising communication was planned, designed, and conceived for a large mass of people.
BTL communication instruments allow you to get a chance to capture that very specific target that has become into your exceptional shopper, which could mean that you have the unique opportunity to put a spell, not only in your shrunk group of archetype costumers but over the ones that are not clients yet and are very similar to them.
Now, the big question is: How do I put all the ad campaign concept into the shop window?
Well, first as always, you have to look at the picture and realize and take note of what you see in that advertising photo:
and finally the «leitmotiv» (of course is not referred to a musical piece but the symbols, signs, signals or decorative patterns and textures).
And then naturally, the specific publicity brief, the brand book, and the visual merchandising guidelines must be known and read. But before you run with the brief, is important to try to pick up the main concept from the ad without any clue and take some notes about the feelings, insights, and anything that cross your mind when you «watch» that advertise. Then you should read the brief and compare them.
The point where your notes and the brief intercept is the key to start developing a true and real concept for the window shop. That concept is aligned with the ad and must have the same feeling (or flow) and the same foci (key elements), with the plus of a storyline that is very closer to the real and specific costumer that is part (client) of that store and by all means the product.
Do you remember the time at primary school when you learn about set theory? Here is the same mechanism, the common elements you get between your notes and the brief, are the elements you must use into the window. By doing this you guarantee that your proposal is flanked within the main communication objectives.
This path is possible when you are «the man» (or «the girl») who decides anything for the shop windows in a store chain, and certainly, there are a lot of topics at this point hereinafter that we will see later. Things could be a little bit more complicated when you are not «the man» and you have to follow some visual merchandising guidelines.
Those V.M. guidelines, that were made by «the man» become your handcuffs and shackles, and consequently, you have to blow up your mind and become immensely more creative. Evidently being «more creative» depends on your grade of excitement for overachieving on became the badass master of all chain of stores (which occurs once in a blue moon). On the other hand, you could do what the guidelines state and go down in flames by just doing nothing (or almost) but those things that were written in the guidelines. But as it was said: The ball is in your court. Which one do you decide to be? The badass? or Mr. Nobody?
Because now you are trapped between requirements and parameters that you have to fulfill and also trapped by the specific architecture from your store (things that you can not change), all those things are the reasons on which you have to rise your creativity to the stratosphere.
Just think about it: Imagine that you are «the man» and have to write down the guidelines for a specific window display you have designed. So you just design one concept that has to be displayed in many stores around the world or around your country or in many places in your city. Those stores have different shapes, various sizes, peculiar layouts, diverse architecture, unlike physical and atmospheric conditions, and so on. Now you can wonder:
How long would it take to design distinctive windows displays for an almost infinite number of different shop windows? It could take a veritably a huge amount of time and energy. Notwithstanding it would be possible to some extent, that is not constructive or prolific in terms of economics and health.
Now that you have embraced the main concept and have a clear idea that would become into a story it is time to land it. If you work for a franchise surely they will send you some elements like banners and stickers, and probably some props that will be useful. So you have to complement the shop window as it was a scene from that story (I think it truly is). And the window would be the stage.
In addition to it, you must show a clever move with the budget just to maximize the performance, if you have the skills and permissions to do it.
The next step is to get the ball rolling, which is not easier than it seems to be. Because in this step you have to achieve that your result gets the most proximal to the draft you just presented. Every designer knows the big difference between a computer design and a final real-life design. Especially all color aspects (the color palette), what is known as RGB and CMYK color modes. Also the big difference between proportions and scale from all props and of course, the How to.
Those mistakes are more common than you think, particularly in rookie designers:
Asking for more elements than the real needed.
Bigger/smaller elements than they really are.
Substantial differences in how it looks, and possibly how it feels.
Choosing the wrong materials (not only in their characteristics but their cost too).
«Ideal props» impossible to make (or almost).
Difficult installation procedures that become nightmares for the workers as well as the designer.
Those mistakes could result in a budget overload for sure. Every penny you save in the production process should be used to reinforce the window display. By the way, there is another common rookie mistake (derived from the previous) because a rookie usually tends to get cost down and in a childish way assume that is the correct way.
Being honest that is not good, because every penny you save, it must be spent anyway to rise up the look and feel from the window display. It is known that you have a cost structure for every store and for every shop window you design. If you reduce the budget it means that you are not growing. You need to spend more and more every year. If you do not spend all your budget, the next year it would be reduced and then you would be in big trouble.
R.E.M.E.M.B.E.R.: Expenses are an extremely good signal for the health of a business. If you do not have expenses, it means that you have no money to spend. Crucial. The window display and all communications items (e.g.: p.o.p material, visual merchandising, ambiance and setting adjustment, etc) are expenses. They are not investments or stakes, never!
Incidentally, production processes require from the designer a big amount of expertise, mostly to avoid the worst fear scenario in which you are fooled and also your budget by the suppliers or contractors. Manufacturing quality is a must mainly in top brands. Because if it is not that way the brand might look fake or phony.
In the case, very recurrent, that the budget is not enough, you still have some trump cards:
To ask for a budget addition.
To inquire about an existent commercial alliance between brands made by the marketing department. Brands that have what you need for the window display.
To invoke the owners for building partnerships between their social contacts (friends, partners, colleagues) that probably have brands and companies who share the same target but in different categories that could help with elements for the setting, with the minimal request in return for it. Which is the same as something called: a favor.
When you have passed all of these things and the suppliers and contractors are working on/in/over the elements you need, it is time to say you are done… But not at all, because you still have a pain in the neck that is sprouting and you still have not realized it is coming!!!
I mean the crunch time that will arrive the day you have to install all that you have designed. That topic deserves its own blog entry because setting up the window display will let you wrecked!!! Or maybe just worn out…
ATL and BTL are some of the most known acronyms for these 2 realms of communication: Above The Line and Below The Line.
Communication instruments in modern companies have evolved rapidly since the seventies (70´s), in which the ATL media had hoarded the advertising scene with approximate participation of 80% vs. 20% from BTL instruments. But along the eighties, they started to scratch this value rising up to 40% and finally with the new century became the 70% BTL vs. 30% ATL. *Salen, H. (abril, 2008). Seminario Internacional Merchandising Activo. Merchandising visual, de seducción: una necesidad actual y creciente.
This means that with the new century most companies made a bet for BTL communication: salesforce, window display, Visual Merchandising, public relationship, patronage, and sponsorship. The communication at the point of purchase (which is the one we are going to talk here in this blog) might have many topics or classifications -it depends on the author- but here, we are going to get straight to the point:
Communication at point of sale could be divide into two big main blocks, the signage communication, and the setting communication. Both are important and they must be balanced.
To balance them is a very difficult thing, especially in supermarkets and department stores, first and fore more in the food category, as shown below:
Even when there are a large number of suppliers within the same category and almost all are at the same level of competitiveness and all at the same time want to have the best portion of the shelf to display and highlight their products. This is when the retailer’s cash register begins to invoice and invoice the sale of privileged spaces within the linear.
But, which is the point between a good visual merchandising and the disastrous of becoming something (derogatory in nature), in the Spanish language aka «Mercado Persa»?
First things first, so we have to know what are the assets we have and which is the «promo» we have to communicate in the store (inside and outside in the window or facade). In a normal retail company you could have a large variety of elements for supporting publicity such as shown hereunder (images speak for themselves):
Different categories and sections, the same instruments and tools. Now, in fashion retail, for instance, we got this:
As a part of the campaign, you can promote each SKU among your visitors and consumers, and guess what! This is P.O.P. too:
In fact, basics are the same for each industry, but creativity must be the difference at the time you implement your visual merchandising ideas, being within the guidelines from marketing, brand, publicity (collection and campaign images), and consumer behavior.
Of course, you can sell the same product but aim to different types of buyers. At that time (2005) there was a huge difference between selling the same jean for a college university guy than selling it to a new professional or recently graduated in his first professional job.
Then we have the same campaign, the same product, the same p.o.p design (for setting and signage communication), the same brand and visual merchandising guidelines; but we have a different consumer and a different type of merchandising in a different point of purchase.
Now you can ask yourself this: Is that setting & communication publicity at the point of purchase relevant for your costumers, buyers, or clients? (just in case, all three are different, but we will talk about them in another post on this blog).
According to the theoreticians marketing writers, the answer is: YES!
Especially if the store brings to the visitor a big amount of greatest happiness and sensations and experiences, precisely those that the buyer is expecting to find in that place. Naturally, it would be traduced into increased sales.
The window display can not scape from P.O.P. material and also many props you have to deploy just to catch attention besides the fact that you have to communicate exactly what the brand and its campaigns must be or have to say. (Remember the main target is to increases sells).
To conclude, the most important aspect could be summarized as:
To respect all campaign guidelines such as branding and visual merchandising.
Smart use of resources: instruments, tools, and props available. This may include the re-use of the props by giving them a new «air» by the use of color and texture, just to transform them into a «new» prop.
Finally, give it up to P.O.P. the strength and starring it deserves through the use of creativity, being careful to not transgress the visual merchandising, campaign, and branding guidelines.
In other words, it means «landing» the ATL advertising campaign into several «small pieces of communication» inside the store called P.O.P.
Now leave a comment and I will show the entire transformation from an advertising campaign to a P.O.P., through the use of visual merchandising concepts!
Rhode Island & Providence Plantations es el nombre del estado no. 13 de EE.UU. en cuya capital Providence, «en el año de 1828 se construyó Arcade Providence, el primer centro comercial de Estados Unidos» (Artlex, 2019), justo 38 años después de ser admitido en la Unión, tal como está referenciado en el libro Flashcards Visual Merchandising:
Ahora, antes de continuar es conveniente una breve y genérica referencia geográfica e histórica para ubicarnos dentro del contexto que vamos a abordar:
Rhode Island está ubicado al noreste de Estados Unidos, en la división de Nueva Inglaterra, y fue la primera de las trece (13) colonias originales en declarar la independencia del imperio británico (dando inicio a la revolución), así como también fue la última de las trece en ratificar la constitución de los EE.UU.
El estado de Rhode Island tiene un área aproximada de 4.000 Km cuadrados (un poco más del doble del área de Bogotá, D.C., Colombia) y cuya capital Providence fue fundada en 1636, famosa, entre otras, por ser la ciudad natal del célebre escritor de misterio Howard Phillips Lovecraft (H.P. Lovecraft) y hoy en día considerada como la Ciudad Creativa, cuna del «arte y el diseño», en parte, gracias a la reconocida Brown University y a la Rhode Island School of Design.
«Su historia comenzó en 1636, cuando la tribu india de los Narragansett vendió una porción de tierra a Roger Williams, a quien habían expulsado de Massachussetts por sus creencias. El británico se convirtió en el fundador de la ciudad, y dejó muy claro que en Providence prevalecería la libertad religiosa. Así, Rhode Island se convirtió en una colonia donde cualquiera era bienvenido, fuera cual fuera su credo.»
Providence es una ciudad relativamente pequeña, pero con una alta densidad poblacional dentro de la que se cuentan descendientes de inmigrantes italianos, irlandeses y asiáticos. Una de las curiosidades de esta ciudad es (según la firma neoyorquina de investigación de mercados NPD Group), que tiene la mayor cantidad de tiendas de doughnuts per capita de EE.UU. llegando a alcanzar la cifra de una tienda por cada 4.700 habitantes, muy por delante de la ciudad de Boston, segunda en el ranking, con una tienda de doughnuts por cada 5.750 habitantes. Doughnut, rosquilla o «dona» como son conocidas en Colombia los pastelitos con forma similar a la del toroide que casi siempre son acompañadas por una bebida a base de café.
Arcade Providence, el centro comercial, tiene su propio sitio web, que en la pestaña de Historia muestra un resumen sobre lo que representa dicha construcción para la ciudad, un punto de referencia obligado, un hito, ya que está en el top de edificios patrimonio histórico de EE.UU. (National Historic Landmark) desde 1976, que a propósito, se salvó de ser demolido en el año 2010:
A National Historic Landmark
Built in 1828, the Arcade is the nation’s oldest indoor shopping mall and remains the historic heart of Providence’s downtown. This beautiful structure with its distinguished Greek Revival columns, granite walls, and classic facades still stands barely touched through its more than 185 years watching over Westminster and Weybosset Streets. For years, those who worked in, lived in, or visited the city have walked up the Arcade’s wide, granite steps into the open center atrium to frequent the bustling eateries and shop in the small stores. This icon of Providence and lobby of the city’s financial district is listed on the National Register of Historic Places and in 1976, it was designated a National Historic Landmark. The new arcade providence retains the historic value of the property and has won accolades from the City of Providence and the Providence Preservation Society.
El centro comercial fue diseñado por los arquitectos James Buckling y Rusell Warren y tiene un manifiesto estilo clásico (evocando un templo anfipróstilo griego): 6 columnas (hexástilo) de orden jónico en las dos fachadas, y dos columnas adicionales en el pórtico antes de dar paso a la cella; un krepis de 4 escalones y estilóbato, frontón, cornisa y friso en su fachada; y un domo central de vidrio por cubierta (justo sobre la cella), actuando como tragaluz para iluminar naturalmente la nave central del edificio, que es el pasillo principal (y único) del centro comercial.
En su interior, se observan tres plantas, la segunda y tercera de ellas bordeada por un barandal de madera y hierro forjado, que aún se conserva, y donde actualmente están destinados micro-loft o apartaestudios de 21 a 80 metros cuadrados de área.
En sus inicios, los tres pisos estaban destinados a espacios comerciales, tal como se observa en la fotografía a blanco y negro. El centro comercial atraviesa la manzana de extremo a extremo, como un pasaje comercial. En esta foto destacan los letreros de sombrererías en el segundo y tercer piso, como Electra G. Kenyon en primer plano, en el local no. 49. Es entendible, según se infiere en la foto, que al no estar en la zona caliente, estos negocios recurrieran al letrero en forma de rompetráfico, para que los transeúntes se informaran de su existencia. En la misma fotografía, arriba a la izquierda en el tercer piso, destaca el letrero de William Mills & Son Photographs local 58, quién también tiene una lona sobre la baranda indicando, ademas del nombre del negocio, otro texto que es ilegible en la foto, pero es prudente inferir que se trata de los productos o servicios que ofrece, así mismo como lo hacemos hoy en día en nuestros espacios comerciales.
Tambien existían locales dedicados a la sastrería (dressmakers) como Mrs. Emily Coyer del local 61, o empresas de confección como Burgess & Gardiner en el local 77. No faltaban establecimientos dedicados a la comercialización al detal de productos secos (dry goods) como el de Patrick F. Hanley en el local no. 2, y empresas como J.E. Jones & Co. ocupando los locales del 18 al 26. Sí, exactamente como en estos tiempos modernos las compañías más grandes tienen el poder económico de adquirir dos o más locales para su operación, generando diferenciación por el tamaño con los otros locales comerciales que le circundan.
Agencias de empleo (employment offices) al parecer también funcionaban en ese entonces, como Arcade Servant Agency, ocupando el local no. 68. Ni que decir los establecimientos comerciales dedicados a la venta al detal de bienes lujosos (fancy goods), como joyas y relojes. De igual manera, como lo vemos en este tiempo presente, distintos locales que comercializan idénticos tipos de categorías de productos se aglomeran unos alrededor de los otros generando un nicho de ventas fuerte en lo que al concepto de aglomeración de puntos de ventas se refiere.
Ni que decir de los locales manufactureros de productos especializados, como la fábrica de tejidos de punto (knit goods manufacturers) Addie E. Remington en el local no. 71, también oficinas de servicios como los de agentes de bienes raíces (real estate agents). Todo esto nos muestra la variopinta oferta de productos y servicios que desde el siglo XIX se ofrecían por primera vez a los habitantes de una ciudad en el continente americano y que hoy por hoy aún se conserva.
El layout del centro comercial es básico: un solo pasaje principal que lo atraviesa de la fachada principal hasta la fachada posterior. el acceso a los pisos superiores se encuentra en el pronaos y en el opistodomo a través de escaleras que luego conectan con pasillos secundarios a lado y lado en cada piso, que también lo atraviesan en toda su longitud, bordeados con barandales de hierro forjado y pasamanos de madera. En el segundo piso, por mitad de la cela, existe un puente de conexión, entre los dos lados. En sus inicios, el centro comercial contaba en los pasillos del segundo y tercer piso con estructuras pasa sostener toldos y señalización con los nombres de los establecimientos comerciales a manera de rompetráfico.
El primer piso, como zona caliente natural poseía los locales comerciales con el mejor espacio y tambien la mejor vitrina, la cual presentaba un desfase con respecto a la línea recta de fachadas del primer piso. Estos locales también son mucho mas grandes por la configuración estructural y arquitectónica del edificio, ya que en los siguientes pisos se le resta el área que ocupan los pasillos más el desplazamiento de la placa a manera de seguridad, para evitar un vacío de tres pisos consecutivos.
La arquitectura de los locales comerciales es perfecta y coherente pues muestra amplitud (no hay muros ni columnas «atravesadas» en el espacio) y tienen una linea de visión completa sin obstáculos desde el punto de acceso hasta la pared de fondo, no presentan zonas ni puntos ciegos.
Siglo XXI: lofts en los pisos 2º y 3º
En el año 2010, para evitar su demolición, el centro comercial fue transformado en 48 microlofts habitables de 21 a 80 metros cuadrados en los pisos dos y tres. El primer piso siguió conservándose como pasaje comercial y desde entonces los accesos a los pisos superiores (escaleras y ascensor) fueron restringidos para los visitantes.
A continuación unas imagenes de los apartaestudios lofts, que incluyen en el cánon de arrendamiento: baño, un refrigerador pequeño, horno microondas, lavaplatos, máquina para lavar platos; amoblamiento básico, cama, silla y guardarropa y cajoneras en la cocina .
Ciento noventa y dos años después de su construcción, el primer centro comercial de los Estados Unidos de Norte América sigue funcionando, quizás no en su totalidad (los tres pisos del edificio), quizás sí se adaptó a los cambios culturales y económicos que se han podido presentar en estos doscientos años, quizás hoy en día sí sea funcional en lo que a conceptos de visual merchandising para un centro comercial se refiere, quizás esté mucho mejor planteado el diseño desde sus inicios que muchos de los centros comerciales y locales comerciales que vemos hoy en día, pues en esa época el acceso a la información era aún mas limitado que este siglo XXI y el desarrollo del mercado era aún muy incipiente.
No se puede dudar que fue y es una magnifica obra en su arquitectura, y que ademas plantó hitos y puntos de referencia para la publicidad, el comercio minorista, el mercadeo, las estrategias de venta, la arquitectura, la comunicación visual y la ingeniería (no por nada lleva casi doscientos años de pie, funcionando y elevado a la categoría de Monumento Nacional de los EE.UU.); y obviamente es uno de los referentes principales para los que nos dedicamos al visual merchandising en cualquiera de sus facetas.
Tal vez el mismísimo Lovecraft haya encontrado historias e inspiración atravesando los pasillos del centro comercial…
This is an Elit Visual S.A.S. Christmas window 2016 and window display production for multi-brand stores (Stazione-Di Marco, Dimarcos, and Margarita Di Marco) located in Bucaramanga, Colombia, South America.
The whole idea was a conception from the owners of the stores based on the customer profile and their 40 years of experience in the fashion business, and it was a basic requirement for the production.
We, as an industrial design agency, got the idea and lead it to a happy ending in terms of visual merchandising. The spotlight in the window was a tree with lights and paper flowers with a half-inch hanging white cloth tapes with small crystal clear snowflakes at the end.
Each tree was made of many pieces of dead tree branches chopped by the local Fire Department one night after a huge storm that destroyed the woods in a park in our city. So we took them and we put together like a puzzle in an easily removable way, just to make them effortless for working, delivery and storage.
To accent the Christmas atmosphere a golden paint was used for walls and big laser-cut snowflakes over it. The copy “BRILLA En Esta Navidad” was given by their publicity agency, and was placed in the lower center part of the window/glass.
White floor pretending to be snow was reinforced with a foot of the tree made of cotton-polyester fabric known here as “wata”, with a little of artificial snow made by us with small polycarbonate chips mixed with sodium polyacrylate and some water. Snow, because here we never have snow and it became a collective mind reference for Christmas in these latitudes (7º up to equator). Besides their customer are high-class people, so they are accustomed to travel to other countries and see different kinds of weather at Christmas especially in the northern hemisphere.
In addition to Windows, another focus display was placed in the entrance, with a very big tree in the same conditions as described above, but highlighted with a red-floor sticker with snowflakes on it.
It took us about three weeks to get production done and two days to install all the elements and props.