Working with Triumph Motorcycles - 'Concept to Approval'
26th February 2021
The concept design process rests heavily on the response to the client’s brief, site constraints and the individual’s design direction and, as our previous post details, the Triumph Corporate Identity (CI) is the starting block for design conversation. These guidelines are written to express the Triumph experience – both in store and on a bike – and IDP have forged an earnest relationship that is constructed on understanding this experience. Numerous nation-wide showroom visits, attending motorbike conventions, countless conversations with bike salespeople and owners, an immersion into motorbike specification and new release dates, even embarking on a beginner’s bike ride taster session (and going over the handlebars testing the brakes!) demonstrate this understanding of the client’s objectives that feed into our creative approach.
Similar to our beginner rider’s taster session, concept design starts simple: a layout proposing rough spatial extents for each of the core areas found within a showroom. The plan informs the client of the Triumph World showroom fundamentals and begins the collaborative approach towards a shared goal. Any unique showroom challenges are approached as opportunities to do something special and naturally result in the growth of original elements, conscientiously developed from the Triumph spirit.
Empathising with Triumph’s position of consistent brand approach as well as the client’s individual operational and aesthetic aspirations present a fresh challenge with each project. Particular schemes demonstrate this through bespoke wall art, acting as key focal points that pick up on local aspects such as the nearby riding route map in Triumph Chesterfield or the timeline telling the family dealer’s story over the previous century in Triumph Shirlaws, Aberdeen. In each instance, the graphics are unique and in keeping with the showroom aesthetics, providing customers inspiration or greater familiarity with their local dealership.
The concept layout progresses from a rough plan to be digitally modelled. Every Triumph scheme benefits from access to a standardised library that has been meticulously modelled in-house to represent signage, furniture and décor elements in both two and three dimensions. The adopted workflow results in accurate and instantaneous coordination of the many elements of Triumph identity incorporated into the design. Perhaps most importantly for the Triumph schemes, this offers an easily relatable basic architectural visualisation, being utilised to full effect in the concept design of Triumph Shipley where multiple staircase options were explored.
The progression of the concept to this point will have resolved the majority of design intents but the stage is as fluid as it needs to be to successfully determine rudimentary details for external and internal architectural changes, wall and floor finishes, the proposed lighting and external and internal signage. All of these elements will be presented within a set of compiled drawings forming a complete board approval package prior to submission to Triumph for the final green light.