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During the Great Depression, while the competitors were cutting costs and reusing outdated designs, Kress was expanding and building more elaborate stores than their previous ones. The architecture was referred to as an “emporium” evoking an elegant atmosphere more suited to a fine cloth or furniture store in New York rather than the five & dime stores dotting small town America. Many wonder what the driving force was behind these design decisions, especially during a national time of economic recession. Perhaps simply to outpace the competition, but perhaps more importantly Samuel Kress was an avid art collector and a proponent of public art enhancing a community. In this way the Kress legacy of the brand became more than a retail business, it became a symbol of small town civic pride. S.H. Kress achieved a unique architectural distinction in both defining a brand identity while simultaneously fitting in with the five-and-dime market and the local main street character of each town. He was a pioneer in creating company brand identity through a “signature storefront”. He viewed his buildings as an advertisement and each store had some components that were standardized, reflecting the popular assembly line approach at that time, while other components varied based on the location to fit within each town culture. In designing the buildings, the storefront is a key focus, with its large public doors, heavy use of glass, display windows, and entrance signage. Much like today, a storefront often serves as its own advertisement to pedestrians or drivers passing by and as such becomes a heavy focus for a store’s design. As in the case of the Kress stores they established their brand in a shiny gold handwritten font over a green back... ... middle of paper ... ...erfect atmosphere to convey speed, efficiency, and technology of the time. This open floor plan not only functions as an efficient visual element but also incorporates the idea of communal work. Customers, store leaders, associates, tech gurus etc. are all free to wander and work together without office walls or boundaries to separate them. The change in the use of light began during the Bauhaus era when lampshades which used to block light and create harsh separations were replaced with broad flood lights evenly spaced to create equal lighting throughout. The use of pure white walls and metal trim also make direct reference to the Bauhaus ideals. Likewise there is an egalitarian principle evoked in the designs. Built to human scale and made clearly for use by people rather than large monumental or overly scaled buildings that often promote power and authority.

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