Tag: north shore

The Psychology of Interior Design with Amanda Greaves

Today on the Edge of Innovation, we are talking with Amanda Greaves of Amanda Greaves and Company, an interior design firm on the North Shore of Boston.

Show Notes

Amanda Greaves’ Website: www.agcinteriors.com

Find Amanda Greaves and Company on Facebook

Contact Amanda Greaves Here

Link to SaviorLabs’ Free Assessment

Sections

What Does a Designer Do?
Understanding a Client’s Taste
How Psychology Helps Designers
How Checklists Help
Asking the Right Questions
Dealing With Resistance

The Psychology of Interior Design

Paul: Hello, everyone. This is Paul Parisi with the Edge of Innovation podcast, and we’re here today with Amanda Greaves of Amanda Greaves and Company. So not the whole company here, just Amanda. Are you a figurehead or do you actually do work?

Amanda: Both.

Paul: You do? So you’re both a fig— that’s a good answer. So what does Amanda Greaves and Company do?

Amanda: We are an interior design firm, and we are all of two and a half strong.

Paul: What do you mean half?

Amanda: We have a small dog named Daisy. And that is my associate’s dog. But we do interior design for residential, hospitality, and commercial projects.

Paul: Okay. And how long have you been doing that as Amanda Greaves and Company?

Amanda: As my company, I started it. Yeah. I started my company in 2010, but I’ve been practicing design since about 2002.

What Does a Designer Do?

Paul: Okay. We have a pretty eclectic group of people who listen from very technical people to just ordinary persons off the street. Or strange people too, I’m sure,and unordinary. Whatever. So you do interior design. Does that mean you come to my house and tell me what curtains I need to pick?

Amanda: It’s a little bit more involved than that. So from a design perspective…Let me put it this way. There’s a lot of “designers” out there — and I use that with air quotes — that call themselves “designers” and they are more of a decorator. So the decorators—

Paul: Okay. So there’s a differentiation here.

Amanda: There is. Decorators are, by any stretch, they are just as important as everybody else on the team, but from a decorating perspective, you’re talking more about the furniture and the pillows and the window treatments and such. From a design perspective, I prefer to get in at the early stages of the planning stages and, with the education and the experience and the certification that we have as designers, specifically, we have the ability to — not physically but on paper — move walls and create plans and create lighting layouts. And we select a lot of the hard finishes. So for us, I look at design from how we do it, is everything that’s physically connected to the interior of a building, if you were to pick it up and shake it, everything that falls out, such as chairs and accessories and stuff, that’s more on the decorating end. And for me, the design aspect is everything that’s still physically attached.

Paul: Okay. Now how does that…? We just recently interviewed Ben Nutter.

Amanda: He’s an architect out of Topsfield.

Paul: Yeah. How does that mesh with what an architect does?

Amanda: So architects are more inclined to deal with the entire structure itself. So they do a lot of the exterior. They deal with foundations, you know, a lot more of the code aspects for clearances and references. They deal more with the town when they do for permitting.

Paul: Yeah. Ben covered that and talked about that.

Amanda: Yeah. So there are a lot of occasions where architectural firms and design firms, where their services overlap. So there are some architects that just create the vanilla box, if you will. So they will make sure that you have your subfloor, your walls are up. There’s plaster on the wall, and you have a ceiling above you. And then the designer comes in and adds everything else.

Paul: Really? You mean, so the wall, the floor coverings…?

Amanda: Yep. So we would add the hardwood flooring, all of the trim. So your baseboard, your crown moldings, whether you’re carpeting, the paint colors on the wall, all of that. But there’s a lot of architects that like to take it even further, and they will do the majority of the hardscape that’s physically attached and leave things like the fixtures — such as plumbing, lighting, decorative accessories — to the designer.

Paul: So it sounds like it’s very collaborative.

Amanda: It needs to be. It needs to be, because if I as a designer have a vision for, let’s just say, a living room, and I want a grand piece of artwork over the fireplace, and the architect coordinates with the HVAC guy to put some sort of a ducting right above the fireplace, that’s not going to work with my art.

Understanding A Client’s Taste

Paul: Okay. So now as we get into this, I’m thinking about…we’ve already talked about design versus decorating and the ordinary person on the street understands that now, but probably wouldn’t have 10 minutes ago. It wouldn’t have been as stark as it is, maybe, to you because you work on it every day. So how do you deal with…You must work with the client, the ultimate user of the facility or the room, or whatever it is. How do you deal with their taste? I mean, because do you get to know them or do you look at what they like? It just seems like a tremendous… It’s like, how do you pick a dress for somebody? How do you pick a shirt for somebody?

Amanda: Yep. So one of the benefits that I find be working as an interior designer, the people that are fortunate enough to hire us — whether it’s in a residential aspect or a lot of commercial buildings, the clients that have hired us are more focused on their business, and they just want to make sure that where they’re working is aesthetically pleasing, and they just show up, and it’s all done, and it’s great.

In order to understand the taste of a client, we have a lot of checklists. So, lots of times, clients will come to me with an idea, and they’ll say, “I’m traditional,” “I’m very contemporary,” “I’m eclectic,” “I have no idea,” or, “I think I like Shaker style houses,” but what they’re really referring could be Craftsman style.

So for me as a designer, my initial job is to do a little bit of a psychological understanding. Who are you? How quickly can you make decisions? Is it you, or is it you and your partner? Is it you and your family? Are there multiple investors involved in the project looking at it from a commercial or a hospitality standpoint?

So before I give anybody answers to anything, I need to understand who the players are. I do a little bit of a personality assessment, and they may come to me with a completely blank slate, and say, “I don’t know what to do.”

And then I’ll start asking, “How many people in your family? How many people in your office? Do you have pets? Does it matter? What do you plan on doing in your kitchen? Do you like to cook, or do you eat out all the time?”

So the answers to those questions start to create the scope of how large the rooms need to be, the style that we’re looking for. We worked with one commercial client, and he was a bit of a Renaissance man, and his concept was more contemporary and streamlines, but he wanted to have the softer aspects of it. So we did a typical cubical, but it had a wood cap on the top instead of doing it like you would assume an office building would be like. And we added some rustic accents for furniture and such in the larger areas.

Paul: And then, so you did this. You delivered it. What did he say?

Amanda: He loved it.

Paul: So, was he able to identify the little subtleties that you added in, or did it just work for him?

Amanda: For him specifically, I was actually — oddly enough that I used him as an example — he came to me, and he said, “Amanda, if I had been able to do this myself, I couldn’t have done it better,” which for me, was one of the best compliments I’ve ever gotten. Not every client says that. Not every project goes smoothly in the sense of you think you know someone when it gets started, and then when you really get into it three months, four months, 12 months down the line, there’s, “Oh, I forgot to tell you this.” Or, “Oh, by the way, this is what we’re doing, and the scope my change.” I’m fortunate when some clients have the ability to see what I see beyond me having to put it on paper.

Paul: You mean “see,” understand what your vision is.

How Psychology Helps Designers

Amanda: Yeah. And again, it’s a matter of me interpreting what they are interested in seeing for themselves and then me telling it back to them. So how I interpret it may not be the say way as you would interpret it. For example, I had a client, multiple different investors in this project, and he said, “I don’t like blue.”

Paul: That’s a pretty big color to rule out.

Amanda: It’s a pretty big color and I had to figure out the reasons why, and was it a specific blue. Is it teal that he thinks is blue? Is he colorblind? Does he just not like the feeling because it was in his grandmother’s house or something like that? And so I have to dig. I have to dig to be able to find the answers.

Paul: Was that as easy as saying, “Well, why?” Did you ask him that blunt a question?

Amanda: Yeah. “Why not?”

Paul: Yeah. And what did he say?

Amanda: “I just don’t like it.”

Paul: “I just don’t like it.”

Amanda: And then that goes into…I have a minor in psychology.

Paul: Okay. I was going to ask that. So when you do this sort of psychoanalysis, do they have… Do you have a couch? Do they lay down?

Amanda: There are times where I wish I was laying on the coach asking the questions.

Paul: Or is it just sort of part of your understanding of the interaction? Or do you actually have a checklist that you might go on? You know, go in the back room and check out. Okay, he’s crazy. He doesn’t like blue. So how formal is it? I mean, it might be, in your mind, very formal, but I might never perceive it if I’m sitting down with you.

How Checklists Help

Amanda: When I started my business seven years ago, I created every checklist under the sun because, as an entrepreneur, I wanted to make sure that if I was doing this, I was doing it right. And I started my business plan in 2009, and it’s still not done.

Paul: Of course not.

Amanda: Because, as anybody listening that’s an entrepreneur, they’ll understand the evolution of self along with the evolution of your business. And so to finish it would have been grand, but I needed to make money. So I had all the checklists, and I went out, and I got my clients, and I realized that, even if you have a checklist of 10, 15, 30 items, every single person you deal with has a very different personality. So it’s a matter of being able to think quickly on your feet, adjust the conversation as it flows, being able to, to change your aspect of questioning, you know, your line of questioning, if he clearly tells you that he doesn’t like blue, and there’s no reason for you to know anything else. So, you know, you have to kind of, okay, “Well, do you like red?”

Paul: Right. I see.

Amanda: But the checklists, I have them. I think I used them within the first six months. When I have new employees come and work with me, I have them look them over so they understand why.

Paul: It’s probably internalized by now for you.

Amanda: By now, it’s more just… My name is on that door, and so the representation of myself is who I am as a person. So my ability to communicate with your clients, whether they’re new or potentially new or I’ve had them for three or four years, is creating that dialog where we can understand each other. And that, for me, is more important than figuring out exactly what they want from the first meeting.

Paul: Right. Of course, because you want to be able to have something that’s durable, which is that relationship.

Amanda: The relationship. Exactly.

Paul: So did you specifically get a minor in psychology because you knew you’d be being this?

Amanda: No, no.

Paul: So that seems very, very exciting or serendipitous.

Amanda: It’s very serendipitous. I actually just spoke at Endicott on sometime last week to one of their graduate classes. And there were half a dozen students that are in career changing mode. One was an English major with a business minor. There was a stay-at-home mom that had studied design 15 years ago. There was a woman coming from advertising. There was another woman with a psychology minor, and there was another one who was actually a designer, interior designer minor, and she just carried through to the graduate class.

And all of those fields in life are very important for the interior design aspect. So I was able to speak to every one of them individually as I was talking about the overall encompassing facts of my business. So having the psychology minor was more, “Hey, I think I’m interested in this.” And I didn’t realize the value of it until I really started working in the industry back in 2002. But not until I genuinely started by own business did I really see the value of it.

Paul: Well it sounds like there’s a lot of things, certainly in interior design that are subject to interpretation. It’s not like, did you move the bricks from point A to point B? No, I mean, it’s not quantifiable like that. So that’s fascinating. I think that all our listeners could take a good notion there, that you need to think about psychology in anything you do. I mean, I really… It’s obvious once you say it. But, you need to be deliberate about that.

So were the checklists, were they psychological checklists or were they, “Do you like brick, or do you like carpet?”

Asking the Right Questions

Amanda: Well, there are still some checklists that I use, and it is a matter of, for example, if we’re doing a master bathroom, there are certain questions I need to ask my clients. One of the first ones, which sometimes get interpreted a little strangely, but, “What do you do in here?” You know, if somebody comes to me and says, “I want to redesign my master suite,” okay great.

“What do you guys do in here? What’s the purpose of this room?” It could very well be they have three kids and two dogs, and on Saturday mornings, this is where cartoons happen, and they want to be able to have hot chocolate and a Keurig without having to go downstairs, and they want a fireplace because this is where they spend all of their family time.

Or it could be the complete opposite. It’s a very hardworking couple. And they value their time and their private spaces to do what they do. So asking those types of questions, you get to know people very quickly as to who they are and how they live their lives. But the checklists specifically are, we need to talk about plumbing fixtures, tiles, light fixtures.

Paul: I see. Reminders of the litany.

Amanda: Which creates the scope of what we need to do.

Dealing with Resistance

Paul: So have you, in asking these questions, have you ever met resistance or friction with people?

Amanda: Yes. And usually, if that happens within our initial meeting — because I don’t charge for initial meetings because it’s more me asking question after question. Let me figure out how you are. If I meet with resistance, and if the chemistry isn’t there between myself and a potential new client, we assess the situation. We understand whether they will be good for us just as much as we could potentially be good for them. And in situations where I have felt that it wasn’t going to be a good fit, I will refer them to another designer or another firm.


Also published on Medium.

An Architectural Approach to Design with Benjamin Nutter

Today on the Edge of Innovation, we are talking with Benjamin Nutter from Benjamin Nutter Architects, an architectural firm based in Topsfield, Massachusetts, about how architects approach design.

Show Notes

Benjamin Nutter Architects’ Website: benjaminnutter.com

Find Benjamin Nutter Architects on Twitter

Find Benjamin Nutter Architects on Facebook

Benjamin Nutter Architects Portfolio

Link to SaviorLabs’ Free Assessment

Sections

An Architecture Firm on the North Shore
What Kind of an Architect
The Architect’s Approach to Building
What is Design?
Specialized Work Versus a Range of Styles
When to Get an Architect and Why
Design Matters

 

An Architectural Approach to Design

 

Paul: Hi, I’m Paul Parisi with the Edge of Innovation, hacking the future of business, and I’m here today with Benjamin Nutter who, in our area, is well-renowned. So first of all, it’s a great name.

Ben: Oh, thank you.

Paul: It’s a great name. It’s an old New England name, Nutter.

Ben: Yes.

Paul: Is that true?

Ben: That’s right.

Paul: How far do you guys go back?

Ben: Actually to about 1635. And the unique name that first settled in the Dover, New Hampshire area — this is true — his first name was Hatevil.

Paul: Hatevil Nutter?

Ben: Hatevil Nutter. Yes.

Paul: Wow. Was it a hyphenated name, or…?

Ben: No.

Paul: So was that his middle name, Evil?

Ben: No, H-a-t-e-v-i-l was his first name.

Paul: Wow. That’s so cool. That’s only in New England.

Ben: Right. Right. No pressure there.

Paul: No. Yeah, exactly. What did he do when he grew up?

Ben: Most likely farming and timber, fishing — what most people would have done what they arrived.

 

An Architecture Firm on the North Shore

 

Paul: Well, that’s really cool. So now, you work primarily on the North Shore of Boston?

Ben: Yes, most of our clients.

Paul: And southern New Hampshire?

Ben: That’s right.

Paul: Now you’re an architect.

Ben: Yes.

Paul: I imagine in the world of architecture, that’s a pretty broad statement.

Ben: That is very true, especially in the 21st century.

 

What Kind of an Architect

 

Paul: Okay. And so do you specialize? Or, if you were talking to another architect, what would you say you focus on?

Ben: We focus on small commercial and residential. And within those two categories, we do nearly everything you could imagine. So in the small commercial area, it’s been from something as simple as an administration building from the Topsfield Fairgrounds, a funeral home that we did just several years ago in Middleton, and we just finished doing a sheep farm and cheesery in Boxford.

Paul: Oh, cool. Okay.

Ben: And then in the residential world, it could be a building as old as the late 1600’s or a net-zero energy or mid-century, modern-inspired home built today. So very, very diverse variety of architecture.

 

The Architect’s Approach to Building

 

Paul: So let’s talk about sort of the whole approach to building. So there’s a point at which a person says, “I want to build something — a business, a house, or whatever — and they make a decision, “I need to go to an architect.” But a lot of people don’t. So what’s that tipping point that you find in your experience? Because I know you probably have more design-sensitive clients than less design-sensitive. So in other words—

Ben: That is so true. In fact, that was the very obvious answer to that question, even for myself, was that if design did not matter to our clients, they would not be our clients. That is so true, Paul. You nailed the essential, that’s what drives most of our clients to work with an architect.

 

What is Design?

 

Paul: So what is design? I mean, because is it the colors? It’s not the furniture. You know, we see all these TV shows, and you see these places that are being rehabbed. And they say, “Well, we’re going to take this wall out and this. And then we’re going to do this.” Or, “We’re going to paint this.” And it really doesn’t come together until they stage it with the furniture.

Ben: And that’s part of what makes design such a subjective subject, if you will, because what might appeal to you as a design might not appeal to, say, Mike. You might prefer a contemporary design. Mike make buy an old home and restore it and renovate it, add on to it.

Paul: How do you navigate that with clients?

Ben: Well… I suppose most people arrive with some notion of what kind of design appeals to them. So that begins to narrow that down. And actually thinking about, one of the things that I feel that we’ve been especially good at over the decades is what I refer to as clarity of style. And what I mean by that is really clarity of architectural style. So if we’re working with…An example would be, right now we’re doing a house with a couple out on Great Neck in Ipswich, and it’s a design inspired by mid-century modern, which in their particular case, would be house informed by the sort of homes that were being built from 1930 to 1950.

Paul: Okay. So I’m not expert on those terms, and I would imagine most of our listeners aren’t. What is mid-century modern? You said ’30 to ’50. What are the look?

Ben: The look is really what some people would think of as contemporary. So it would be most likely flat roofs, a very horizontal look, large areas of glass, and really structures and shapes that are much more streamlined than, let’s say, a 1790 Georgian, the dwindling farmhouse that is the classic center entrance, center chimney colonial that is reproduced endlessly in subdivisions, for example.

Paul: Right. Okay. Good. That’s good. That’s a good handle for me to get and understand. Okay so you’re work on this. Do you have sweet spots of design for your company or favorites of your… I know probably you have personal favorites. So do you have sweet spots as a company?

Ben: That also is a great question, and it’s not an easy question to answer because I actually find a great interest in almost all of the architectural styles that are part of, really, the American history of architecture. So that could be something like the first homes built in the United States along the East Coast are referred to as First Period because it was the first period of construction. Those would be dramatically different than that mid-century modern that I was referring to.
I suppose what I find especially exciting and inspiring is to work well as an architect, as a designer, within each one of those styles.

Paul: Okay. Yeah. And have you done that?

Ben: Yes. Well, we think so.

Paul: Yeah. I would… But, I imagine there’s architects out there that probably only do first period.

Ben: You’re absolutely right.

Paul: “Why are you coming to me to do this mid-century modern? I don’t do that. Go speak to these people.” But the story is a little different with you. You’re coming in and saying, “Tell me what your design inspirations are, and we can take and sample from them or be pure to one inspiration.

Ben: Absolutely. Another way I sometimes describe that is the analogy of, we think of ourselves as the chameleon that can change color, depending on the design influence for each client’s project. And it wouldn’t be, I suppose, if we worked with only clients who desire mid-century modern. I don’t know that we’d be dreadfully disappointed that we never did a historic restoration, but there’s a certain added excitement about having the opportunity to work on designs all across the spectrum.

 

Specialized Work Versus a Range of Styles

 

Paul: Right. So now I know you’ve won a lot of awards — congratulations of that— just throughout New England for the work you’ve done. So it sounds like you have some satisfied customers. And in that, I mean, you haven’t tried and failed. You’ve actually tried and succeeded across this broad swath of, really, architectural styles. So that’s exciting to see. In the architecture world, are most of them like your company? This is, “Well, we can pretty much handle everything,” or are they more specialized?

Ben: There are some that are very specialized, certain firms around the metropolitan Boston area, I think of as really, as you say, specializing in a more contemporary architecture. Other firms where I first worked in Boston was one of the really original older names. Royal Barry Wills was an architect who really promoted the Colonial Revival style. Although, ironically, in the ’50s, there was another architect Hugh Stubbins who worked there who did very contemporary work at the time. But not well known by most people is that Hugh sort of got his wings at the Royal Barry Wills office. Royal Barry Wills Associates continues today to do mostly traditional work — so Colonial, maybe some Shingle-style work. And their reputation is so excellent in that area that it’s most likely that a client calling them would be seeking to do a traditional design. It doesn’t necessarily mean they would rule out doing a contemporary design, but that’s what they’re especially well known for.

And, Maryann Thompson is an architect in the Metropolitan Boston area that really specializes in contemporary design. And yet, there are other firms like Hutker Architects which is on the Cape and the Vineyard. They’re… I can’t speak for them, but I would say they’re more as we are, where they get the great interest in working with styles across the spectrum.

 

When to get an Architect and Why

 

Paul: Right. So now we talked a little bit about this sort of inflection point. Where I’m saying, okay, I want to build something. What’s that inflection point for me to choose an architect or just build it, show up with wood one day and build it, or however that happens. If I’m trying to make that decision, or I know somebody that’s trying to make that decision… They say, “Gee, I want to build a house. Should I just go buy a set of plans, or should I talk to an architect?” Those are two vastly different options. Can you speak to why or what sort of the decisions points are and the things I can, the sort of hooks that I can hang on to say, “Okay, if I want this, I need to go to an architect. And does it have to do with expectations and all that kind of thing? Sort of dig into that a little bit.

Ben: Yes. Well, there must be so many things that go through people’s heads when they’re thinking about that, especially for residential. Commercial, I would say, is a little bit more, just frankly, business like. So for the example of the client for who we did the funeral home, it was a person who already was in that business. They had other locations where they were operating. They kind of knew what their needs were and their functions. And the whole process is, I suppose I would just say it’s more business-like, because they already kind of know their model. What they needed was a new building on a new site.

Paul: Why wouldn’t they say…? Is it even plausible to say to a general contractor, “I have a building in this town. I want you to replicate it over there”?

Ben: You could. But in the 21st century, you also really would need a set of construction drawings so that you could then acquire building permits, go through the process as required in a local community. Sometimes that would require planning board and zoning board, conservation commission.

Paul: Do you help with that?

Ben: We do. Yes. We don’t do site engineering, but we do assist with and collaborate, and we bring in appropriate people to do that kind of specific work.

Paul: So I’d be hiring you and you would bring in the site engineer.

Ben: We can. We don’t always, but we can do that, because it’s very much a collaborative process. So that’s a process where it’s really not only satisfying the design to make sure that the building suits their needs — how many people do they want to accommodate when there’s a wake or a service, but then also just really putting the information together so there’s a clear set of drawings that describe the building itself. And that allows a general contractor, or if they’re doing bids, a number of general contractors to actually price the project. So it’s really a combination of design, municipal process, how they want to go about getting pricing for the construction, and then completing the construction and following a set of good quality, detailed drawings.

Paul: Okay, so that seems reasonable. But it seems like — I don’t know because I’ve only built one building in my life, had it built. You designed it, actually.

Ben: Yes.

Paul: But I guess the point I’m trying to understand is there’s a decision point. And I don’t know what I don’t know. And so I get a contractor, a general contractor who comes, “Oh, yeah. I can build you a barn.” Or, “I can build you a two-car garage.” That’s a fundamentally different decision to go with that than it is to go with an architect who is… I imagine some architects could just say, “Yeah, we have a standard two-car garage. How do you want to modify it, if you do at all. We have a shrink-wrapped garage.” And those are good things. Those are fine. But what is the personal design ethic? Do you find any thread that runs through the people that are coming and saying, “No, I want something special”?

 

Design Matters

 

Ben: Well we do. And, not to repeat the earlier comment necessarily, but the whole point about design matters. So whether it is a small project or existing home or a new house, I truly think what drives person to the design profession, as opposed to just a general contractor, is their desire for something that’s unique for their own needs and their family, if that’s their situation, their location.

So all of those could be elements of their decision-making process. But if they don’t, if their core is not that they really care passionately about the design, then I suspect they would just go online. In new construction, it would be a little bit easier to go online and acquire a set of building plans for a house of all sorts of styles, and then they could go directly to a general contractor. They might have to make some modifications to the drawings to suit codes that are local to the area, but you could go that route.

Whereas our clients are… Whether it’s a small project, a longer project, renovation, or a new construction, it’s very clear that they’re really driven by the passion for good design, and they want to work with someone who will partner and collaborate with them to achieve that design and then work that into the building construction.

Paul: So now, I make the decision. There’s two things I want to go after here, one is what happens after I make the decision to go with an architect. But I would imagine, before we answer that, there are a lot of risks I’m taking if I go and download plans off the internet, that aren’t clear to me. I mean, because if you were to say, “All things being equal, yeah, I’ll go buy the plans on…” I don’t know how much they cost to download. $500? $100? You know, whatever.

Ben: I have no idea. Right. It could be. Yes.

Paul: You know, so I buy these plans for whatever amount. But I don’t know what I don’t know. Now if I alternatively go to an architect, general contractors are a little different because they don’t have the best reputation in the world. You know, they’re not somebody that’s necessarily working on your behalf. They’re working to get the thing built as quickly as possible and as cheaply as possible so they can get on to the next project. I’m sure there’s some that aren’t as, maybe, crass as that. But there’s a difference of interest there. Maybe. Maybe I’m being unfair.

Ben: Well, fortunately, we partner with a lot of very good quality general contractors, whether they are small firm or large. And yes, they certainly, at the end of the day, they obviously, like any of us, they want to be able to put some money in their pocket. But they’re also rather passionate about the residential design arena, if you will. So we have great people we can collaborate with our clients.

Paul: Right. But that’s after I’ve made the decision to go with an architect.

Ben: Generally speaking, there is a rare occasion where a client may come to us, and they’ve already selected a general contractor. But that’s probably less than 10% of our clients. Might, might even be less than 5% of our clients. So usually part of our process is to help get them set up to collaborate with a particular general contractor. But back to your other question…

Paul: Well, actually, before we go there, let me get a little deeper on this because, I guess what I’m trying to pull out here — and tell me if I’m wrong — is that you’re really working solely to the benefit of the customer.

Ben: Yes. You’re absolutely right. And that’s what we should be doing.

Paul: And so that’s a unique role in this sort of ecosystem. Because if I go and download the plans, I don’t know what I didn’t know.

Ben: That’s right.

Paul: The minute I involve you, you expose me to everything I don’t know, if I need to. But you get me through the zoning board and all the different things and help assist with all that and bring in the right experts.

 


Also published on Medium.

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