The thesis statement was written prior to any knowledge of a possible small design-build project for the clothing upstart. This being said, I am quite proud to have been given the opportunity to implement my young idealistic views into a tangible architectural solution. Having a hands on project early in my architectural career gave me a good foundational knowledge of professional architectural procedures, client, contractor, architect relationships, money management and introduced me to the idea that compromise isn’t always a bad word. The vast amount of knowledge gained in this short time gave me both a new view into architecture as a profession, but it also strengthened my beliefs in creating a system of design that reflects necessity.

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The thesis and design-build effort was nominated for a Drury University Librarium Award for Design Excellence in the Spring of 2004.

Architecture is a package. It is wrapped up in appealing paper and tied tight with theory and bias, so much so that it has cut the circulation to the main artery that functions as the life-force of design, the people. The heart beat of architecture has faded, it is not what is seen in Architectural Record, it does not exist as a celebrity foreground where only the elite can interpret and translate it. It exists for the people, the society from which it acquires significance. All too often we seem to focus on those celebrity periodicals to gauge whether or not there is a successful entity or theory in the design community. In fact, these magazines produce a false sense of wellness, an artificial impression of the world of architecture and design, a world with an endless budget, perfect clients and a timeless schedule. Welcome to the real world? No, this is not the world we live in. We live in a constantly changing society where the status-quo continually evolves, where population trends sky-rocket, where information can be accessed and transformed within moments of its spawning. This entity breathes, lives, grows and consumes, just as a singular person does. The assimilation of this ‘false-sense’ design philosophy into a growing, breathing entity has acted as a virus entering a body. In order to restore the body to a healthy state, a cure must be introduced at the molecular level. In societal terms, change needs to take place within the people themselves. A social revolution within the population through the education and interpretation of individual needs as they affect collective relationships of humanism and the quality of life is the definitive essence of my design future.


+ A Subjective Belief Statement to the Current Status-Quo of the Architectural Realm +
Even in simple terms of conventional architecture there is a miscarriage of ideals, a misappropriation of design factors and real world issues that seem to go unnoticed in high design. This separation within the fabric of society, the seemingly unknown and unseen divorce between architecture and humanity has aided in the division of high design and conventional architecture. ‘High design’ can be ultimately described as design, where the emphasis lies strictly on conceptualization, whereas ‘conventional design’ is seen as the practice, focusing mainly on implementation. We cannot blame individual offices and schools for this disconnect between design and practice. They are part of a culture in architecture that has maintained this split for a long time, and part of a mind-set that can be traced back centuries to divisions, in west culture at least, between art and business, thinking and doing (Fisher, 92). These opposite
tendencies in architecture seem to receive a majority of the attention in design, whereas the projects existing in the center of the equation, incorporating both high design forces such as site, context, appropriateness in detail and a conventional bottom line philosophy, goes unnoticed. It is in this central core of design where honest architecture exists with bottom line issues. It is where contextual factors help the design solution, where each aspect is carefully studied and appropriated in an architecturally respectful and responsive manner. I do not believe in offering problem solving solutions to a population that alters itself innumerably. I believe in approaching each individual variable with a different philosophy in mind, one that satisfies the client and expresses the utmost ideals that are pertinent to the times. There is no architectural pragmatism in a constantly evolving society, there is only a re-envisioning of ideals with
every project and client, see it as an adaptation of obligations. A design philosophy that lasts beyond years in a firm is similar to and as detrimental as designing without context. The design is blinded before it is born, it is crippled by an unwillingness to refocus and redefine issues relevant to the immediate solution. Looking back to those elementary years in design school, I have seen many phases of appreciation and understanding in my thinking. The architects who embody certain ideals compatible with mine have come and gone. While the essence of their philosophy rings true, they become obsolete in a constantly breathing and pulsing society. It would be a shame to follow the same standards of years past, demonstrating ignorance in accepting a design philosophy that pertains to every design solution, accepting theory that becomes the equation to every design problem even when each individual variable is different. These appreciations should help to develop newer issues, become foundations to scope into deeper discussions and concerns.
Times change, philosophies evolve, theories are disproved, evolution happens.


+ A Definable Exploration to a Blurring of Architectural Boundaries +
Despite the often broad interests of architects, the profession tends to look inward, rarely engaging in discussion with other fields (Fisher, 99). This statement rings true to a majority of firms practicing in today’s market, where singular aspects of the design firm help to define its status in society. Graphics, design and business are all sectors of the design field from which our practice emanates. Coming from a liberal arts university, I wish to combine these aspects into a singular practice, encompassing a broad spectrum of design and business into a small design-build oriented climate. This blurring of the line will help me to initiate specific relationships with the client, relationships that go further than just defining a designer. Designing, developing, contracting and implementation through one medium can offer a more successful and honest response to individual needs based in a complex, ever growing culture.
Design firms like Randy Brown offer a glimpse into a practice that controls a great majority of the design phase, from concept to implementation. The understanding fostered between the client and designer through smaller, design-build practices helps to facilitate and enhance a stronger comprehension of ideals pertinent to each variable in the design process. I believe firms such as these greatly improve architecture through factors previously seen as barriers and restrictions.


+ Methodology and Implementation +
I believe there is an opportunity to discuss a site specific project, with Drury University, that includes many aspects congruent with the merging of a more business/design related practice. I wish to approach Michael Buono, the Director of Architecture here at Drury University, about an installation project to go under the atrium staircase at the Hammons School of Architecture. This space has been left undefined for many years, and I believe that an applicable design incorporating information kiosks, specific lighting solutions and a possible seating-gathering area could enhance the space and allow for possible further growth throughout the building. This design opportunity with focus my attention with client-designer relationships, a full spectrum of the design process, from concept to implementation, budgetary, schedule and other programmatic issues. It will serve as a small but important project dealing will individual needs as they affect the collective relationships between humanism and the quality of life here at the Hammons School of Architecture. Possible critics/clients for this project include Michael Buono, Rusty Worley, Brian Kelly, Stan Rone, Jay Garrott, Dennis Spencer and Karen Spence. These critics/clients will aid in the simulation of a real-life situation, provide a design issue to be solved, and throughout the semester, gauge the efforts made by the designer. At the conclusion of the semester, the design will be implemented and studied in order to document specific responses deemed crucial to the design solution.


+ The Execution of Ideals into a Tangible Form +
Over the course of the spring 2004 semester, I will be implementing a programmatic response defining the need to design and create a specific space under the atrium stairs, emphasizing seating, critique and information spaces. These issues will be addressed and classified by certain members of the Hammon’s School of Architecture community that I feel will be useful in helping cultivate a successful and appropriate response to the design problem. Certain aspects I feel will aid in my success are rooted in furniture design, graphic arts, interior architecture, construction technique, business, communication and social response. Through the expertise of the mentioned factors and along with specific budgetary items as defined by the appropriate committee members, I hope to incorporate a ‘blurring’ of lines between architecture and business into a successful 520 architecture project.
The essential tools in defining a successful design project are design concept, necessity, schedule, budget and craftsmanship. These factors emphasize time issues, monetary issues, design and implementation issues, as well as appropriateness of design and effectiveness of the solution. The committee members that I have deemed vital to the project have the appropriate background to aid me in my design and business decisions, in addition to having a persuasive voice concerning university applications. Michael Buono, the director of the architecture program will help in communicating applicable ideas in the design and execution of the project. Rusty Worley is the Vice President of Administrative Affairs at Drury University, his help will be necessary in communicating and applying possible funds and ideas from the University staff. Brian Kelly will aid in the interior design solution, with an emphasis on concept
and fabrication. Stan Rone, the director of the architectural wood shop will help in his expertise of construction technique and material knowledge. Jay Garrott, my committee chair, will be vital in communicating on a master-apprentice basis certain aspects and decisions based on being a more experienced administrator and architect. Dennis Spencer, a local architect, will aid in dealing with architectural relationships to the appropriate outlet. With the expertise mentioned above, and the knowledge in dealing with every viable aspect of business and design from concept to implementation, this committee will greatly help in improving my chances of success with this thesis project.
A business oriented schedule is essential in order to fully realize this design solution. With a variety of factors and critics involved in the process, the amalgamation of all time and budget issues need to be addressed accordingly. A set schedule of meeting dates, working hours, construction schedules as it applies to all members of my committee will be made, as well as an itemized budget and record of expenses. Time will be allotted in and out of studio, according to a typical business schedule with office hours. These times will be decided upon when each member has given an appropriate response. Honesty being the driving factor in the design and realization of this thesis project, it is necessary to meet with the appropriate personnel prior to the conceptualization and design phase.
This initial meeting with Rusty Worley and Michael Buono with set forth an itemized budget that will be allowed by the university for the design solution. It is my belief that this phase in design is the most vital in determining an appropriate response in the end solution. Essentially, budget is just as large a contextual factor as site and environment. With this meeting being at the forefront to the onset of the project, it is necessary for me to specifically site a need for the expansion of critique and leisure space at the school of architecture. In addition to the statements of necessity, I believe that my expertise as a student will help to communicate certain wants of the population as they concern additional leisure-critique space.


+ Conclusion +
Following the initial meeting with Buono and Worley concerning the creation of a new space, it will be necessary to research and record material costs, construction techniques and any other applicable factors relevant to the initial budgetary meeting. This research will help define an honest beginning to the conceptualization process of the design solution. With the sufficient itemization of costs and techniques, a second meeting will be necessary to define a specific path that the committee and I will take in responding to the design process. After this discussion, a set of design parameters will be defined and an initial concept design will be executed. This design process will take place in studio and will include drawings, models and computer-aided design tools. These documents will be the measurement of the typical grading system that is needed to pass the 520 studio. This second phase of design will be overseen by Brian Kelly and Jay Garrott, and the professor assigned to record my progress in 520. With a sufficient design solution defined, the third phase will be initiated. This phase will include the translation of design development and budget into an executable solution. The expertise of Stan Rone and Dennis Spencer will be essential in this phase, emphasizing construction technique, fabrication, tool application and contracting of building tasks. This is the longest phase in the
process of design and implementation and it requires the most attention to be paid to the intricacies of the translated documentation listed above. With the appropriate documentation in-hand, the design will begin to be realized tangibly. I will become the master builder for the project, but will offer smaller manufactured details to appropriate individuals. This will emphasize construction techniques that embody simplicity and budgetary appropriateness. At the conclusion of this phase, a final meeting will address all factors as they were dealt with along the three phases of design. All committee members will critique the progress made according to their individual expertise. As an architecture student, I hope to gain a more viable and honest understanding of the design process and the relationships formed in
the development of a design-build project. A journal acting as a log of meeting dates, discussions, itemized budgetary factors, as well as all factors not realized and discussed in this introductory essay, and an overall design portfolio combining drawings, models and computer-aided designs will act as the final presentation for the 520 project.


+ Bibliography +
In the Scheme of Things: Alternative Thinking on the Practice on Architecture
Thomas R. Fisher, University of Minnesota Press, Minneapolis, 2000


+ The Space +
Given the chance to explore my own theoretic values towards the architecture/design profession, I approached a design-build opportunity with the ideals learned and investigated through our liberal arts education at Drury University, specifically the Hammon’s School of Architecture. Having completed a similar thesis proposal prior to the spring 2004 semester defining the importance of a design process that includes emphasis on all business and design factors, i decided to gather my resources and look for a project that complimented my strengths and exposed my weaknesses not only through architectural terms, but through a liberal arts educated. Taking precedence from past and current internships, studio critiques andpersonal relationships with the design faculty, I came to the conclusion that in order to successfully end my collegiate career, it was necessary to define these strengths and weaknesses through a real design-build experience.
The chosen project parameters consisted of a design solution for an upscale clothier in Springfield, Missouri, one that afforded us the chance to explore specific artistic and architecturally driven solutions. The client was in need of new and innovative solutions for a clothing store that specialized in a young, urban-based lifestyle. Rather than using the current design market to achieve a design solution, they approached us in search of demographically similar design concepts. Being the first time I had dealt with the business side of architecture, I methodically itemized each encounter with the client, defining the terms and ideas as they were presented. This application helped me to understand the client-designer relationship, teaching me that the process is not entirely design driven, rather it is a series of negotiations that leads to a final solution.
Having met with the clients numerous times to discuss my capabilities and the components necessary for a successful outcome, I put together a series of schematic proposals that emphasized the client driven concepts and the ideals that I deemed appropriate. I approached the client with a booklet that questioned their intentions as it related to my solutions. The booklet included several schemes that highlighted different ranges of construction difficulties, selling space and overall image. The purpose of this introductory exercise was to gauge the client’s response to the different demographic attitudes that I felt pertinent to a young, urban-based lifestyle.
After choosing the direction that they considered appropriate, I analyzed and modified the scheme in order to further develop a rational solution that emphasized our beliefs as stated throughout our liberal art educated experience. After meeting with the clients again, I itemized my objectives into three main categories, spatial issues, maximization of product display and an overall-encompassing of the concept ‘blurring the boundaries between art, music, fashion, design and architecture.The space measured approximately twenty feet by forty feet, with carpeting and a dropped ceiling at eight feet. An existing bathroom was located at the rear of the store. Concerns arose because the client wanted to keep the existing dropped ceiling and carpet, and add an additional storage area to the rear of the store that would hide the bathroom from view. After confronting the client with alternative options to the dropped ceiling and
carpet, it was decided to remove both to emphasize the core qualities of the space. The removal of the dropped ceiling added an additional volume of four feet and expressed an urban feeling due to the exposure of raw materials and systems. The removal of carpeting revealed the existing concrete which offered an aesthetically pleasing, low maintenance and cost effective solution congruent to the original ideals. Since an additional storage room would have compromised the depth of the space, I proposed the construction of a service-bar area that would share the functionality of the recommended storage room but still remain transparent to the overall space. The bar would also act as a service area for steaming machines, irons, miscellaneous equipment used for the customizing and cleaning of clothing as well as containing a small refrigerator for beverage services. It would take precedence as the iconic young, urbanized lifestyle.
Since there was limited square footage, the maximization of selling space that emphasized an ideal ratio of potential product display to profit per square foot, was key. In design terms, I proposed an adaptability of bin display and the introduction of two double loaded selling corridors. The driving force behind my objectives is a concept of ’blurring the boundaries between art, music, fashion, design and architecture. It was my intention to design a product that inherently provided an image through the relationship of its parts. Rather than becoming different components of furniture that were arranged into an overall composition of architecture, I focused on the influences and characteristics shared between art, music, fashion, design and architecture. Storage units became an artistic response while still retaining their functional qualities. Unit designs evolved, influencing and changing the appearance of the next, blurring the lines of artistic and architectural composition. My design became a composition of objects in space. Each part became essential to the overall product, just as elements in art, music, fashion and design compliment on another in its entirety.


© Jared Grellner 2009