[{"data":1,"prerenderedAt":236},["ShallowReactive",2],{"article:storefront-entrance-feng-shui:en":3,"article-topic:business-feng-shui:en":157,"related-articles:en:business-feng-shui:storefront-entrance-feng-shui:":225},{"slug":4,"title":5,"description":6,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":12,"noindex":13,"summary":14,"sections":15,"references":114,"relatedTools":137,"seo":138,"contentImage":143},"storefront-entrance-feng-shui","Storefront Entrance Feng Shui: Sign Distance, Glass, and Door Force","A shop entrance is three measurements before it is a direction: the cap height the sign needs at its distance, the brightness at which glass becomes a mirror, and the door force.","Commercial","business-feng-shui","","chen-jun","2026-10-27","2026-11-01",false,"At 20 metres a sign needs about 175 mm of cap height; 8 per cent glass reflectance makes a window a mirror four times brighter than the display behind it. The sill hides the near floor, and the door has three numbers.",[16,21,28,34,61,89,95,105],{"heading":17,"body":18},"A shop entrance is asked a different question from a home door",[19,20],"Most of what circulates about entrances was written about dwellings, where the same few people cross the same door twice a day. A shop door is asked for something else. It has to be found by a stranger, from a moving viewpoint, in a few seconds, and it has to let a delivery through before it opens. Those three conditions are what make a commercial entrance measurable in ways a home door is not.","The four items a passer-by has to read — name, offer, hours, door — are a layout question, and the layout review works through them. What follows is the measurement behind each of the four, plus the three numbers that decide whether the door itself works.",{"heading":22,"body":23},"A sign is a reading-distance calculation, not a size",[24,25,26,27],"Sign size is usually argued by taste. It is arithmetic. The threshold of human acuity is five arcminutes of arc: a letter subtending five arcminutes is the smallest one a person with 20\u002F20 vision can identify, which is how an eye chart is built — the 20\u002F20 line at six metres uses letters about 8.7 mm tall.","The rule scales. At distance d, the threshold cap height is d times 0.001454. At 10 metres that is 15 mm, at 20 metres 29 mm, at 30 metres 44 mm.","Those numbers are far smaller than any sign that works, and the gap is the useful part. A shop sign is not read under test conditions: the contrast is lower, the reader is walking, and the word has to be recognised rather than merely resolved. Multiply the threshold by a factor for those three losses and the answer lands near what sign makers already use. At a factor of six, 20 metres needs about 175 mm of cap height, which is close to the 25 mm per three metres that sign shops quote.","So the question is not whether the sign is big but whether it is big for its distance. Measure the cap height of the letters in the name, divide by 0.001454, and divide again by whatever factor you are willing to defend. At a factor of six a 150 mm letter is resolvable to about 17 metres, so a shop that most people approach from 40 metres has a sign that works for the last 40 per cent of the approach.",{"heading":29,"body":30},"The window is a mirror above a computable brightness",[31,32,33],"Glass does not only transmit. An uncoated pane reflects about 8 per cent of the light that reaches it, roughly four per cent at each surface, and that reflection is what a passer-by sees whenever the outside is brighter than the inside.","Put numbers on it. An overcast sky has a luminance of roughly 6000 candelas per square metre, and 8 per cent of that is 480. A display lit to 500 lux, with white surfaces at 0.8 reflectance, has a luminance of about 130, because luminance is illuminance times reflectance divided by pi. The reflection is nearly four times brighter than the thing it is supposed to be showing.","This is why adding lamps to a window display stops helping. To match the reflection the display would need about 1900 lux on it, which is a small studio rather than a shop window. Three other moves are cheaper: shade the glass from the patch of sky it is reflecting, angle the display so the reflection passes over the head of the viewer, or put something opaque in the window — which is why a wall of posters is common, and why it works, and why it also kills the view in.",{"heading":35,"body":36,"table":40},"The sill decides how much of the floor cannot be seen",[37,38,39],"Stand on the pavement three metres from the glass and look in. The first stretch of floor is invisible, and its depth follows from the sill height: x equals d times h divided by H minus h, where d is the viewing distance, h the sill height and H the eye height.","With an eye at 1.6 m and a viewing distance of 3 m, the numbers come out like this:","A high sill is not a mistake in itself. It hides the floor and lifts the product to eye height, which is what a jewellery window wants. It becomes a mistake when the thing being sold sits on the floor, or when the only sign that the shop is open is what can be seen through the glass.",{"headers":41,"rows":45},[42,43,44],"Sill height","Near floor hidden at 3 m","What a passer-by actually sees",[46,50,54,57],[47,48,49],"0.4 m","1.0 m","Almost all the floor, and whatever stands on it",[51,52,53],"0.7 m","2.3 m","The middle of the shop, not the front of it",[48,55,56],"5.0 m","The far wall, and the tops of the displays",[58,59,60],"1.2 m","9.0 m","A band of wall, and nothing at floor level",{"heading":62,"body":63,"table":67},"The door itself has three numbers",[64,65,66],"The opening force usually quoted for accessible doors is 5 pounds, or 22.2 newtons, and it is worth knowing what that figure covers: interior hinged doors, and sliding or folding doors. It does not cover the exterior swing door of a shop, which is the one customers actually push. So 22.2 N is a benchmark here rather than a rule, and it is a demanding benchmark — a door with a strong closer and a stiff latch reads well above it.","Measure all three at peak, with a tape and a luggage scale rather than by feel:","A deep reveal is the one case where the code asks for more. An opening deeper than 610 mm needs 915 mm of clear width, because the sides of the reveal eat the approach. Old shopfronts with a recessed door are exactly this case, and the recess is usually the reason the door feels awkward rather than the door itself.",{"headers":68,"rows":72},[69,70,71],"What to measure","The benchmark","How to measure it",[73,77,81,85],[74,75,76],"Opening force","22.2 N, the cap for interior hinged doors, used here as a benchmark","Luggage scale hooked at the latch edge, pulled slowly",[78,79,80],"Clear width","815 mm with the door open 90 degrees","Tape between the face of the door and the stop",[82,83,84],"Maneuvering clearance","1525 mm out from the door, plus 455 mm past the latch side","Tape on the pavement, at peak",[86,87,88],"Obstruction","815 mm of clear route from kerb to door","Walk it when deliveries happen, not at opening",{"heading":90,"body":91},"Where the mouth-of-qi reading lands",[92,93,94],"The tradition calls the entrance the mouth of the space and ranks it first among the parts of a building, and for a shop that ranking survives sorting better than the geometry does. Its checkable content is a proportion rather than a direction: everyone who walks past sees the entrance, and only a fraction of them come in, so the entrance is a filter and a filter can be counted.","Count it. Twenty minutes on the pavement at a busy time, two tallies: people who pass the frontage, and people who cross the threshold. The ratio is the conversion from the street, and it is the only number against which a change to the entrance should be judged. A sign legible at 17 metres, a window that is not a mirror, and a door that opens with two fingers are all supposed to move that ratio, and if they do not, they were not the problem.","What the tradition adds beyond the counting is a priority: fix the entrance before the interior, because the interior is only seen by the people the entrance let in. That is an ordering claim rather than a measurement, and the counting supports it — a shop with a good interior and an unreadable frontage has nobody inside to appreciate it.",{"heading":96,"body":97,"bullets":98},"A twenty-minute test, from the pavement","Run this before spending anything on the frontage. Every item produces a number, and the numbers stay comparable from week to week:",[99,100,101,102,103,104],"Count passers-by and entries for twenty minutes at the same time of day, and write down both.","Measure the cap height of the letters in the name, then divide by 0.001454 to get the distance at which they stop being resolvable.","Stand three metres out at noon and photograph what you can see; the near floor that is missing is the sill height doing its work.","Look at the glass from the street at the hour the sun hits it, and note whether you see the display or the reflection of the street.","Pull the door open with a luggage scale at the latch edge, and write the reading down in newtons.","Walk the route from the kerb at delivery time, and note anything that narrows it below 815 mm.",{"heading":106,"body":107,"bullets":108},"What an entrance cannot do","The entrance is the cheapest thing to fix and the most over-credited, so it is worth being clear about the limit:",[109,110,111,112,113],"It cannot make a passer-by want the product. It can only let them find out what the product is.","It cannot carry the conversion ratio alone. A legible sign and a clear door bring people to the threshold; the interior decides the rest.","It cannot be measured once. Conversion moves with the season, the street and the competition, so the ratio has to be counted again.","It cannot brighten a dark interior. The window lets light out as well as in, and a bright frontage over a dim shop reads as closed at dusk.","It can remove the reasons a willing customer does not come in, and every one of those reasons can be counted.",[115,123,131],{"id":116,"kind":117,"title":118,"detail":119,"publisher":120,"url":121,"accessedAt":122},"huangdiZhaijing","traditional","Huangdi Zhaijing (黄帝宅经)","Historical context for traditional residential orientation and spatial vocabulary. Modern recommendations are judged against real conditions.","Wikisource digital text","https:\u002F\u002Fzh.wikisource.org\u002Fwiki\u002F%E9%BB%83%E5%B8%9D%E5%AE%85%E7%B6%93","2026-07-14",{"id":124,"kind":125,"title":126,"detail":127,"publisher":128,"url":129,"accessedAt":130},"ccohsLighting","practical","CCOHS: Lighting Ergonomics","Summarises lighting levels, glare, and contrast guidance for indoor work, reading, and circulation areas.","Canadian Centre for Occupational Health and Safety","https:\u002F\u002Fwww.ccohs.ca\u002Foshanswers\u002Fergonomics\u002Flighting","2026-10-14",{"id":132,"kind":125,"title":133,"detail":134,"publisher":135,"url":136,"accessedAt":12},"adaDoors","US Access Board: Doors, Doorways and Gates (ADA Standards §404)","Section 404.2.3 sets clear width at 32 in (815 mm), and at 36 in (915 mm) for openings deeper than 24 in (610 mm); 404.2.4 requires 60 in (1525 mm) of maneuvering clearance on the pull side; 404.2.9 caps opening force at 5 lbf (22.2 N) for interior hinged, sliding and folding doors.","US Access Board","https:\u002F\u002Fwww.access-board.gov\u002Fada\u002Fchapter\u002Fch04\u002F",[],{"title":139,"description":140,"path":141,"type":142},"Storefront Entrance Feng Shui: Sign Size, Glass Reflectance, Door Force","How to measure a shop entrance: the acuity floor for sign lettering, the luminance at which glass reflects more than it shows, the sill geometry that hides the floor, and the 22.2 N door benchmark.","\u002Farticles\u002Fstorefront-entrance-feng-shui","article",{"src":144,"srcByLocale":145,"alt":147,"width":148,"height":149,"altByLocale":150,"captionByLocale":153},"\u002Fimg\u002Farticles\u002Fstorefront-entrance-feng-shui.svg",{"tw":146},"\u002Fimg\u002Farticles\u002Fstorefront-entrance-feng-shui-tw.svg","Four measurements behind a shop entrance: the acuity floor for the sign, glass reflectance, sill against eye height, and door force.",1280,960,{"zh":151,"tw":152},"门面背后的四个量：招牌的视力门槛、玻璃反射率、窗台与眼高之比、门的开启力。","門面背後的四個量：招牌的視力門檻、玻璃反射率、窗臺與眼高之比、門的開啟力。",{"en":154,"zh":155,"tw":156},"Every item on the frontage list can be turned into a number measured from the pavement, which is what makes it worth arguing about.","门面上每一项都能变成一个站在人行道上就能量到的数，这也是它值得争的原因。","門面上每一項都能變成一個站在人行道上就能量到的數，這也是它值得爭的原因。",{"topic":158,"articles":190,"tools":224},{"slug":8,"title":159,"eyebrow":160,"description":161,"relatedTools":162,"articleIdeas":163,"seo":167,"sections":171},"Business Feng Shui","Shops and brands","A commercial feng shui hub for storefronts, cashier placement, customer flow, restaurant layout, and brand environment.",[],[164,165,166],"Shop Feng Shui Layout","Cashier Position","Restaurant Feng Shui",{"title":168,"description":169,"path":170},"Business Feng Shui Guide","A practical guide to business feng shui for shops, restaurants, customer flow, cashier placement, and brand environments.","\u002Ftopics\u002Fbusiness-feng-shui",[172,175,178,181,184,187],{"heading":173,"body":174},"What a business review can and cannot do","A shop's takings come from product, price, location, service, and staffing; none of those is a direction or an object. What a space review can do is check whether the physical environment fights the business: whether the entrance is legible from the approach, whether the payment point creates a queue that blocks browsing, whether a restaurant's seating pushes staff routes through customer tables. Those are measurable and fixable. The traditional layer — facing direction, cashier orientation, the so-called wealth position — is a set of conventions laid on top of the same physical facts, and it should be recorded separately so that it cannot hide a maintenance, signage, or pricing problem. The honest use is a checklist, not a guarantee.",{"heading":176,"body":177},"Start outside: the entrance and the approach","Photograph the storefront from the direction most customers arrive, at opening, midday, and closing. Check whether the name, the main offer, the opening hours, and the door itself are readable without stopping, and whether anything — a parked car, a delivery stack, a badly placed A-board — sits between the approach and the entrance. The tradition reads a narrow or obstructed entrance as a constriction of incoming energy; the physical reading is that a first-time visitor cannot tell where to go, which loses the visit before it starts. Both point at the same fix: clear the sightline and make the door obvious. Record the approach in both directions if the street is one-way, because the customer's view differs from the owner's.",{"heading":179,"body":180},"The service point is a flow problem before it is a direction","The cashier is where the tradition's wealth-position claim lands, but the operational question comes first. Walk one complete visit — enter, browse, decide, pay, leave — and mark every point where a customer stops, doubles back, or waits. A counter placed so the queue crosses the browsing route turns a sale into an obstacle course; a counter tucked behind a display hides the staff who could help. Move the queue marker, open a second till at peak, or angle the counter so the person paying does not block the person entering. Test one change at a time and compare queue length, abandoned baskets, or simply where people hesitate. The facing direction can be noted; the queue is what you can measure.",{"heading":182,"body":183},"Restaurant and hospitality layouts protect a second route","In a restaurant the customer route and the staff route share the same floor, and most bad-feng-shui complaints in dining rooms are collisions between the two. A table that forces a waiter to reach across a diner, a kitchen door that opens into a queue, a till placed where the exit narrows — these read in the tradition as blocked or rushed energy, and they read operationally as service friction and trip hazards. Map both routes on the floor plan, then check fire exits, accessible routes, and the path a full tray takes from kitchen to table. Seating that faces the door is often requested for comfort and sightlines rather than luck; the practical version is that some guests dislike sitting with their back to the room, which is a real preference worth respecting.",{"heading":185,"body":186},"Brand environment is a consistency question","Colour, material, lighting, and signage carry the brand before any symbolic object is noticed. The tradition assigns elements and directions to colours, but the checkable question is whether the palette is consistent between the window, the interior, and the menu, and whether the lighting makes the product look the way it does in daylight. A red wall is not fire energy that attracts customers; it is a surface that changes how warm the room feels and how food photographs. Decide the impression you want, then test whether the space delivers it at the door, at the counter, and at the exit. Where the tradition and the brand agree the choice is easy; where they conflict, the brand and the customer experience should win, and the symbolic reading can be dropped without loss.",{"heading":188,"body":189},"Keep an evidence pack and judge changes against it","Before changing anything, assemble the record: approach photos at three times of day, a floor plan with both customer and staff routes, the queue and service points marked, opening hours, accessibility constraints, and the questions staff are asked most often. Then make one proportionate change — clear the entrance, move a queue marker, reduce glare, make prices legible — and decide in advance what would count as improvement and over what period. Compare the same measures before and after. Business results depend on factors a space review cannot touch, so treat any improvement as evidence about the environment, not proof that a direction or object worked. If a change makes no difference, that is also a result, and it cost almost nothing.",[191,201,211,221],{"slug":192,"title":193,"description":194,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":11,"summary":195,"relatedTools":196,"seo":197},"shop-feng-shui-layout","Shop Feng Shui Layout: Read the Customer Route Before the Compass","A shop layout is a set of movement decisions you can observe on one visit: the threshold, the browse loop, the service queue, and the exit. The compass reading is recorded separately and never overrules a measured problem.","Follow one customer from pavement to till and back, and the layout review writes itself. The four checkpoints are the three-second threshold, the browse loop that doubles back, the queue that crosses it, and the exit strip. Change one thing, then measure the same thing.",[],{"title":198,"description":199,"path":200,"type":142},"Shop Feng Shui Layout: The Customer Route, Checked","A layout review follows one customer through the threshold, the browse loop, the service queue, and the exit, with the compass reading kept in a separate column.","\u002Farticles\u002Fshop-feng-shui-layout",{"slug":202,"title":203,"description":204,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":12,"summary":205,"relatedTools":206,"seo":207},"cashier-position-feng-shui","Cashier Position: Three Queues, One Sightline Height, One Counter Height","A till is a queueing system before it is a corner. The service rate sets the wait, a 1.4 m shelf hides everyone below 1.2 m, and only 915 mm of counter is fixed by code.","Utilisation, not direction, decides the wait: at 0.95 the queue is 20 people and 12 metres long. Position changes where they stand, not how long they wait. One section of counter sits at 915 mm; the rest follows the person standing at it.",[],{"title":208,"description":209,"path":210,"type":142},"Cashier Position Feng Shui: Queue Length and Sightline Height","The arithmetic behind a till position: how the service rate sets the queue, what height a display hides beyond it, and why only one section of counter is fixed at 915 mm.","\u002Farticles\u002Fcashier-position-feng-shui",{"slug":212,"title":213,"description":214,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":11,"summary":215,"relatedTools":216,"seo":217},"restaurant-feng-shui-layout","Restaurant Feng Shui Layout: Protecting Two Routes on One Floor","In a restaurant the customer route and the staff route share one floor, and most bad-feng-shui complaints are collisions between them. The pass, the seating, the queue, and the light are all checkable.","Draw both routes on the plan and mark the crossings. The pass from kitchen to furthest table, the table a server must reach across, the queue and exit at the same door, and the noise and glare that decide how a room feels.",[],{"title":218,"description":219,"path":220,"type":142},"Restaurant Feng Shui Layout: Two Routes, One Floor","A restaurant layout review is a route review: the pass from kitchen to table, seating that faces the door, the queue and exit at the same door, and lighting and noise as the real energy.","\u002Farticles\u002Frestaurant-feng-shui-layout",{"slug":4,"title":5,"description":6,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":12,"summary":14,"relatedTools":222,"seo":223},[],{"title":139,"description":140,"path":141,"type":142},[],{"articles":226},[227,230,233],{"slug":192,"title":193,"description":194,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":11,"summary":195,"relatedTools":228,"seo":229},[],{"title":198,"description":199,"path":200,"type":142},{"slug":202,"title":203,"description":204,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":12,"summary":205,"relatedTools":231,"seo":232},[],{"title":208,"description":209,"path":210,"type":142},{"slug":212,"title":213,"description":214,"category":7,"topicSlug":8,"legacyPath":9,"authorId":10,"publishedAt":11,"updatedAt":11,"summary":215,"relatedTools":234,"seo":235},[],{"title":218,"description":219,"path":220,"type":142},1793614153489]