Angled Aisle Head
Opens the approach
The end is cut at an angle rather than square. It widens the entrance to the aisle at exactly the point where two trolleys have to pass, and it turns the end into a display face instead of a blank return.
Angled aisle head · sign header · dark slats
A dark slatted island that cuts its aisle-head end at an angle and carries a sign header above. The angle opens the entrance to the aisle; the header tells the shopper what is down it.
Studio angles on white. The angled end, the header, the slatted panel and the deck are photographed below.
The end of a produce island is the first thing a shopper meets and the thing they walk around. Cut square, it narrows the entrance to the aisle and it collects trolley damage. Cut at an angle, it opens the approach and turns the end into a display face in its own right. This build does the second, and puts a sign header over the top so the aisle announces itself.
The body is dark slatted timber in a black frame, with a dark deck. It is the same family as the other dark builds in this category, specified here on the fixture that faces the main walking route — which is where a store gets the most out of a fixture that looks like furniture.
A dark slatted island that cuts its aisle-head end at an angle and carries a sign header above. The angle opens the entrance to the aisle; the header tells the shopper what is down it.
Supermarkets, convenience stores, chain retail and speciality stores. Tell us the store format and the floor area and the specification comes back written against them.
The angled end and the header are what separate this from the plain dark island. Both are in these four.
Opens the approach
The end is cut at an angle rather than square. It widens the entrance to the aisle at exactly the point where two trolleys have to pass, and it turns the end into a display face instead of a blank return.
Your artwork
The header carries your artwork, set out on the drawing before production. It is what tells a shopper at the top of the store that this aisle is produce, which no amount of merchandising below eye level will do.
Open slats, dark board
Open slats in a dark board. The gaps keep air moving around the crates and the dark tone gives the fixture presence — the two are independent decisions that happen to suit each other.
Frame proud of the deck
The frame stands slightly proud of the deck line, so crates stop at the edge instead of over it. It also takes the knock that would otherwise land on the board, which on an aisle head is a daily event.
Every item on this page is made to order. Send a floor plan, a hand sketch or a photograph of a fixture you like, and we quote against it.
Store fixtures are light for their size, so a container fills up on volume long before it fills up on weight. What decides your freight is not what one unit weighs — it is what shape the goods are in when they go through the container door. Everything we build leaves in one of three shapes.
Shelving bays, produce islands and bulk cabinets travel as panels — uprights, shelves, back panels and plinths, strapped flat with bubble wrap on every component. They are built up on the shop floor, so the packing list and the assembly drawings travel with the goods.
This model
Trolleys slide into one another and baskets stack. Past the first unit, each extra one adds only its nesting pitch instead of its full length, so the shipped volume ends up a fraction of what the unit count suggests.
A checkout lane is welded, coated and fitted out as one piece, so it is crated whole with padding on the steel. Nothing waits to be assembled at the store beyond levelling it into the lane, and the crate is the counter plus a margin.
Produce islands ship flat as panels, so the container arithmetic runs on panel count rather than on finished size. Two of the builds in this category carry recorded dimensions — 1200 × 750 × 850 mm for the standard island table and 1200 × 800 × 1300 mm for the tall build — and those two are the reference points a loading plan is worked from. Everything else is cut to your aisle and confirmed on the packing list.
Produce is the wettest, heaviest and fastest turning department in the store, and it rarely arrives on its own. These three categories share the fresh aisle with it.
Where the produce run meets the fish counter, both fixtures want stainless at the contact surfaces and a drain in the same floor.
See seafood display casesLoose dry goods sit alongside loose produce in most store plans, and the two departments are read by shoppers as one open market area.
See bulk food binsProduce is promoted harder than any other department, and a 1000 mm square at the head of the aisle is how a glut gets moved.
See promotional standsHow many of each a store needs is a floor area question rather than a product question, and it is answered store by store on the project page.
Tell us which end faces the main walking route and send your header artwork.
Tell us which end of the island faces the main walking route, and send any header artwork with the enquiry. The angle goes on the end shoppers actually approach from.
The four that come up on nearly every enquiry for this build. If yours is not here, send it with your layout and it is answered alongside the quotation.
Yes, and on an island sitting in open floor with traffic from both directions that is the right build. Against a wall or at the back of the department only one end matters, and angling the other costs display area for nothing.
Yes. Send the artwork with the enquiry and it is set out on the drawing before anything is cut. OEM orders ship with no Keshun marking anywhere on the fixture.
It does, and that is the honest trade — you give up a corner of deck to gain a wider aisle entrance and a display face that people actually walk toward. On a busy aisle head it pays back; on a quiet one it does not.
It can. Lighting is specified per order rather than being standard, so raise it with the enquiry and the wiring route is drawn in before production rather than retrofitted on site.
