So the Naiad design is made to be 'adjusted' at the building stage, preset with the whole instrument in mind. Two adjustments are not built out- tuners, and the truss rod. Here's why...
The Truss rods function is to resist and balance the pull of the strings, and the force needed to do this will vary over time, hence the adjustability.
The Naiad guitars have a single action, double rod, where tightening (clockwise) pulls against the pull of the strings. The objective is to tighten the truss rod until the string tension is balanced and the neck has the desired relief. This should be present but minimal. Fretted on the 1st and 24th fret, the taut string forms the straight reference line, and the distance at the 12th fret is the maximum part of the curve, the ‘relief’. Settings here between almost zero relief (where the gap between fret and string at 12th is present, but vanishingly small, indicating as close as possible to straight without a back bow), and high relief have subtle and interesting effects on playability, intonation and sound. The intended relief will be part of the setup of the guitar as a whole and will work with all the other factors together.
Over years of string tension the force needed from the truss rod will increase- this will depend on the individual guitar but will be in the order of a fraction of a turn over decades. Here the adjustability allows for precision relief over the very long term. When relief is seen to be high a tiny adjustment can be made. This can also be done in the event of a strong sudden change of climate- those who experience this will know about this effect, and a truss rod adjustment is only neccesary when the change is extreme, the vast majority will not need to do this. The Naiad design is exceptionally resistant to any ill effects coming from a big or sudden change in humidity compared to other guitars, for many reasons including the absense of any areas of cross grain restriction and the very deeply penetrating oil finish, and so as a result may well end up being sought out for these situations, where the easy and precise truss rod adjustment is a huge benefit.
Relief setting on a Naiad is especially accurate and effective because the relief curve is formed over the entire playing surface. The Naiad Truss Rod runs centrally down almost the entire length of the neck, past the playing surface at both ends. A truss rod that acts only on a part of the neck will not curve the whole neck evenly- this, to a greater or lesser degree, is near universal on guitars, and is a main source of localised action problems. Asymetric neck/body connections have this affect also, by changing the relative resistance of each side of the neck near the joint. Bending of the headstock can also do this, usually by introducing a subtle twist.
It is important that the truss rod is adjustable with the strings at full tension- if you have to take the strings off, or even just slacken them to adjust, fine setting will be a guess, resetting to the beginning of the balancing process each time you have to release tension to adjust the rod.
Although the truss rod opening is at the end of the neck to allow access without string removal, it also has to do with the advantages of having the truss rod run beyond the playing surface at both ends, and the whole headstock design in terms of consistency and stability.
An often overlooked fact is that the headstock on a guitar will ALWAYS bend with the neck, usually more than the neck because it's thinner and under the effects of leverage, being far from the pivot point of the body joint- stress from a bent headstock can transfer to the fretboard and move the wood, destroying the plane of the fret tops. This only occurs once the strings are a full tension, and then changes over time as tension settles in, gradually and progressively altering the fret top plane. The design of the Naiad headstock minimises this as the headstock bends in harmony with the rest of the neck in as consistent a curve as possible.
The multi taper neck on a Naiad guitar is stiffer and more consistent than a single piece neck of the same wood and size- this consistency reduces uneveness in the distortion from string tension and the extra stiffness minimises the need for the truss rods’ balancing force. This is an advantage because the force exerted by a truss rod can NEVER be a perfectly even curve (Eulers columns), so the less the truss rod has to act, the less distortion it adds. This is also a question of balance however, as a totally unyielding neck with no need for a truss rod would not allow for the precise adjustment of relief and stiffness- the controlled elasticity and rigidity of the neck is an important part of a guitars sound as well as it’s playability.
All stringed instruments will perform more consistently if always kept at full tension, this includes the string tension and the truss rod tension. Change one, like when restringing all strings at once, then the other is out of balance and will take time to settle in again. Tuning stability will be affected, and the ‘stiffness’ of the neck will take time to return, affecting particularly the attack of notes. Change to the system can be reduced, and therefore the time needed to rebalance, by changing one string at a time leaving the others at full tension.