During the Great Depression, as competitors cut costs and reused obsolete designs, Kress expanded and built more elaborate stores than its predecessors. The architecture has been called a "general store" that evokes an elegant atmosphere more suited to a fine fabric or furniture store in New York rather than the five-and-dime stores that dot America's small towns. Many wonder what the driving force behind these design decisions was, especially during a national period of economic recession. Perhaps simply to outdo the competition, but perhaps more importantly Samuel Kress was an avid art collector and advocate for public art that enhanced a community. In this way the legacy of the Kress brand has become more than a retail business, it has become a symbol of small-town civic pride. SH Kress has achieved a unique architectural distinction in both defining the brand's identity while at the same time adapting to the five and dime market and the character of each town's local high street. He was a pioneer in creating corporate brand identity through a “signature storefront.” He viewed his buildings as an advertisement, and each store had some standardized components, reflecting the popular assembly line approach at the time, while other components varied by location to fit each city's culture. a focal point, with its large public doors, heavy use of glass, shop windows and entrance signage. Just like today, a shop window often serves as an advertisement for passing pedestrians or motorists and as such becomes a focal point for a shop's design. As with the Kress stores, they established their branding in a handwritten font in shiny gold on a green back... in the center of the card... a perfect vibe to convey the speed, efficiency and technology of the era. This open floor plan not only works as an efficient visual element, but also incorporates the idea of ​​communal working. Customers, store managers, associates, technology gurus, etc. they are all free to roam and work together without walls or office boundaries separating them. The change in the use of light began during the Bauhaus era, when lampshades that blocked light and created stark separations were replaced with large, evenly distributed headlights to create uniform illumination throughout. The use of pure white walls and metal finishes also references Bauhaus ideals directly. Likewise, an egalitarian principle is evoked in the projects. Built on a human scale and clearly intended for use by people rather than large monumental or overly sized buildings that often promote power and authority.