2020 persp ctivee MEDIA KIT - The Commercial Interior ...case studies—including workplace,...

2020 Media Kit perspective 1

2020

KITMEDIA

p e r s p c t i v ee


DEAR PERSPECTIVE ADVERTISER: Perspective is the thought leadership design journal of IIDA, offering

provocative deep dives into issues affecting the interior design

industry and design-centric takes on the art, culture, and political

stories shaping our world.

The magazine targets design and architectural professionals at

every level in the industry and provides a unique “perspective” on

interior design news. Perspective’s coverage ranges from pointed

case studies—including workplace, healthcare, hospitality, education,

civic, and retail projects—to thoughtful editorials focusing on the

built environment’s effect on society at large.

As a leader in promoting interior design globally, IIDA supports

designers who play an active role in advancing the profession and

utilizing design as a powerful tool for change. As an extension of

IIDA, Perspective reaches beyond your local design community,

engaging an audience of more than 15,000+ members across 58

countries.

IIDA offers special advertising opportunities for IIDA Industry

members, including complimentary half-page ads for new members.

Based on our surveys of Perspective readership:

• 63% saved their Perspective for future reference.

• 29% filed an ad for future reference.

• 25% discussed an ad with a colleague.

• 81% say they learned from the ads.

Show your support for the industry while reaching influential

design professionals with your messaging and products.

Sincerely,

Cheryl S. Durst, Hon. FIIDA, LEED APEXECUTIVE VICE PRESIDENT AND CEO

FROM IIDA

Perspective reaches beyond your local community, engaging an audience

of more than

COUNTRIES.58

15,000MEMBERS

ACROSS

“

“


MISSION Published twice a year

by IIDA, Perspective is

unique from other design

publications. The thought

leadership magazine focuses

primarily on the professional

practice of interior designers,

the business of design firms,

and the development and

education of the design

community. Perspective

features a range of voices

from individual practitioners

to the world’s largest design

institutions, from clients to

educators, manufacturers to

social influencers. The goal

of each issue is to expose

readers to a diverse set of

methods and approaches to

the practice of design, and

show how design deliverables

and outcomes can be

affected by these ideas.

ABOUT IIDAIIDA is the commercial interior design

association with global reach that

supports design professionals, industry

affiliates, educators, students, firms, and

their clients through a network of 15,000+

members across 58 countries. IIDA

advocates for advancements in education,

design excellence, legislation, leadership,

accreditation, and community outreach

to increase the value and understanding

of interior design as a profession that

enhances business value and positively

impacts the health and well-being of

people’s lives every day.

CATATALALYSTYST

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POWERED BY DESIGN

FROM THE ASHES

CHANGE OF SEAT

THAT CREATIVE SPARK

p e r s p c t i v ee

DESIGN IS LIFE. IIDA IS DESIGN.IIDA.org | Summer 2019

IIDA Summer 2019 COVER.indd 1 5/8/19 3:35 PM

AWARDSPerspective consistently receives coveted honors from an array of respected

associations year after year. Perspective’s distinguished awards include:

ASAEGOLD

CIRCLE AWARDS

Winner, Print Magazine,

2016

OZZIE AWARDS

Silver Award, Best Overall Design, Association/

Non-Profit, Spring 2008

Winner, Redesign, Association/

Non-Profit, Fall/Winter 2016

Gold Award, Magazine Redesign,

Fall/Winter 2016

Silver Award, Excellence,

2011

Silver Award, Design

Excellence, 2011

Gold Award, Design

Excellence, 2010

Gold Award, Single Topic

Issue, Summer 2007

EXCEL AWARDS CONTENT MARKETING ASSOCIATION AWARDS

Best Print Publication – Design, 2017

Best Print Publication – Design, 2018

Best Association Publication – Honorable

Mention, 2018

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TYPICAL CLIENTS OF OUR READERS are 88% commercial and 12% residential.

READERSHIP

Our readers TAKE ACTION when

they see a product or service ad in

Perspective that interests them.

63% saved Perspective for

future reference.

38% clipped or copied an article.

29% filed an ad for future reference.

25% discussed an ad with a colleague.

21% passed an ad on to others.

Our members’ AREAS OF PRACTICE include:

34% Corporate

17% Residential

14% Healthcare

14% Hospitality/Retail

6% Facility Planning & Design

6% Government/Institutional

Our members specify the

following types of PRODUCTS AND SERVICES:

76% Paints/interior finishes

75% Carpet

75% Floor covering

74% Fabric

68% Tile/granite/stone

67% Laminates

62% Wall coverings

62% Contract/commercial

60% Lighting/commercial

59% Hardware/fixtures/accessories

59% Contract systems furniture/panels

35% Kitchen/bath

33% Decorative accessories

26% Arts/craft

25% Lighting/residential

25% Outdoor/casual furnishings

21% Residential furniture

T The IIDA professional audience is the

most coveted in the design industry.

Ninety percent of our professional

members working in the commercial

design industry are employed by the top

200 architecture and design firms.

Perspective readers are commercial interior

design leaders working on the cutting edge

of design. And they turn to Perspective to

keep them informed on what’s new and

next: 82% learn about new products from

our members, and 4 out of 5 members learn

about new products from magazine ads.

Interior designers specify more than

in products and services each year. $46 billion


A completely reimagined feature well

and mix of departments explore

the topics that matter most to

commercial designers:

• design trends and innovation

• humanity and culture

• business and leadership intelligence

• industry developments

• global advocacy

EDITORIAL

EXPERIENCE A NEW PERSPECTIVE

Perspective feature stories showcase fresh voices,

bold POVs, and thought-provoking deep dives into

the issues transforming today’s interior design

in every sector:

• The ROI of pop-up experiences in the retail,

restaurant, and hospitality industries

• Designing inclusive spaces for individuals with

sensory disorders

• How a paradigm shift in higher education is

transforming campus design

• Rethinking office spaces in light of

technology advancements

READERS WALK AWAY SMARTER—READY TO CHANGE THE WORLD.

DESIGN IS LIFE. IIDA IS DESIGN.

10 perspective iida.org/perspective

TALK, TALK 2 DESIGNERS ON 1 TOPIC

RON VAN DER VEEN, FAIA, principal of NAC Architecture in

Seattle: I agree that gentrification is a political, economic, and social issue, but it really happens before designers ever get involved. We could build a subpar building so no one would move into it, but that’s not what we do. Instead, we materialize the plans that clients and cities have al-

ready devised for these sometimes challenged neighborhoods.

If we’re really helping to change these cities and save culturally significant neighborhoods, architects and designers should be involved much sooner as a part of the city planning process. After all, gentrification can kill the soul of a place. If a neighborhood has a rich culture or is historically significant, I think we as designers and architects are obligated to keep it intact somehow. And I don’t mean just by trivial gestures like decoration or memorial plaques.

For instance, while growing up in Portland, Oregon, I lived near an urban center called Montavilla. That’s where we went to see movies, listen to music, have our first kisses. But it eventually fell into disrepair. When new businesses came in, the builders kept signifi-cant pieces of the old center intact to keep it historically grounded. They renovated the historic movie theater but kept it as close to the original design as possible. The old record store became a coffee shop, but they kept the same floors and walls inside. They were committed culturally to the neighborhood. And it feels great to be there: fresh and new, yet grounded.

BENEDIKT HARTL, founder of Opposite

Office in Munich: We are, first and foremost, service providers, but it’s also our job as designers to question our role in things. That means a designer always has to think and act politically, as well as socially.

A tower with luxury apartments, for example, is not only a piece of architecture but a social statement. We have to ask ourselves: Who will move in there? Who will not be able to afford to live there? How will that change the character of the neighborhood?

I believe it should be a law that every new building project must create at least 50%

social housing with affordable rents. In return, the building owners receive twice the building rights and can, for example, build higher. Thus, new housing with luxury apartments would finance social housing—a win-win for the investor, the residents, and the whole city.

Our cities are constantly changing and transforming. It is what makes a city livable, interesting, and vibrant. But change and gentrification often go hand in hand. You don’t design in a vacuum. Every design takes a social and political position. On the one hand, you have your client, but on the other hand, you also have your social conscience. As an architect or designer, you have influence.

The Gentrification DebateBy Meredith Landry

What role can designers play in helping

to address gentrification?

—Ron van der Veen, FAIA

““

—Benedikt Hartl

“

... A designer

always has to think and act

politically, as well as socially.

If a neighborhood has a rich culture or is historically

significant, I think we as designers

and architects are obligated to keep it

intact somehow.

“

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IIDA FW19-A-Front.indd 10 10/17/19 6:53 PM


WHY THIS DESIGN WORKS BREAKING DOWN A DESIGN

The open kitchen is painted green for a bold contrast with the pink, drawing

the eye to the cooking action.

Warm cherrywood detailing

brings extra depth to the pink palette and adds a touch

of luxury next to the humbler

materials.

The Formica walls and tabletops pay

homage to London’s mid-century cafes, which are currently

dying out.

A cherrywood-framed lightbox removes the need for bulky

overhead lighting typically seen in a restaurant pass-through.

Practicalities such as coat hooks and wall lights

are minimal, so as not to

distract from the overall

feeling of being

immersed in color.

When this vegan pizza joint opened, its bubblegum pink Formica walls, color-matched banquettes, and vintage lighting sent social media into meltdown. But the interior couldn’t just look cool.

Architects are now asked to create ‘viral’ interiors, and while they understand the importance of attractive images, the goal was to design something with more depth and substance so it could continue to attract people for years to come, say Alexey Kostikov and Chieh Huang, co-founders of Child Studio in London.

Take those Formica-clad walls and tabletops. Each has a subtle linenlike texture and a very specific shade of pink, the result of “a meticulous process of extensive sampling and prototyping” they say. The material was specifically selected after the Child Studio team researched London’s cafe culture. These everyday spaces, now treasured rarities in the city, often featured the material, paired with modernist interiors and an array of pastel tones.

While the pink hue dominates, it’s actually used “very strategically,” Kostikov explains. “There’s also an element of bold contrast in the space: The light pink palette is offset against the deep green of the open kitchen area.”

PROJECT DETAILS:

Humble Pizza

LOCATION: London

DESIGNER: Child Studio

OPENED: May 2019

By Emily Brooks

A Portrait in Pastel

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INSIDER INTEL WHAT’S NEXT

““ We pay a lot of attention to the

storefront.

—Megan Stone

INDUSTRY QUICK TAKE: Megan Stone, owner and principal, High

Road Design, Scottsdale, Arizona

PERSPECTIVE: What makes cannabis dispensary

design distinct from other kinds of retail projects?

Stone: Cannabis dispensaries are selling a federally illegal substance. They’re not allowed to bank their money, so everything happens in cash, and that impacts the retail environment from top to bottom. Also, cannabis dispensaries sell a product that, for many people, is incredibly important but has also been historically demonized. That’s starkly different from an average retail store.

PERSPECTIVE: How do the cash-based interactions

inform store design?

Stone: At the point of sale, a discreet, comfortable space lets customers have a final intimate conversation about the product and a little space to take out their wallets and expose their cash. We make sure point-of-sale stations are not planned too densely.

By Novid Parsi

Configuring Cannabis

The open layout of Elevate, a dispensary in Woodland Hills, California, allows customers to navigate the space freely.

The design of Maitri Medicinals in Uniontown, Pennsylvania aims to provide a comfortable environment to shop in.

IIDA FW19-G-Back.indd 52 10/17/19 7:16 PM

EDITORIALON WORKPLACE, HEALTHCARE, HOSPITALITY, EDUCATION, RETAIL SPACES—AND MORE.

QUICK TAKES

NEXT What’s new and of

note, wrapped up in

chunky bits, photos,

stats, and quotes

TALK, TALK Two designers dissect

a current topic

(and maybe even

debate a bit)

SCRATCH PAD

Books, movies,

and art to

cultivate creativity

INSIDER INTELThe inside scoop on a

featured sector

PRE/POST The ever popular

before-and-after, but

this one’s done with

style and smarts

WHY THIS DESIGN WORKS

Designers break down

the highlights

IIDA NEWS + UPDATES

The latest programming,

publications, and

events

2020 EDITORIAL CALENDAR


June (NeoCon) 2020 Issue Features

NeoCon Exclusive Content

Automation Ascending

Design in a Downturn

Modular Mania

Urban Planning Pioneer

✹ BONUS DISTRIBUTION AT NEOCON

November 2020 Issue Features

Employee-Centric Spaces

Breaking Down Bureaucracy

The Alzheimer’s Experience

Creating for Cannabis

Going Solo

Please note: Features are subject to change


ADVERTISING

AD SIZE FULL SPREAD

AD SIZE COVER/FULL PAGE

AD SIZE 1/2 PAGE HORIZONTAL

AD SIZE 1/2 PAGE VERTICAL

JUNE ISSUEAd Close April 27Materials Due May 1

NOVEMBER ISSUEAd Close October 1Materials Due October 7

MEMBER RATEFULL SPREAD FOUR-COLOR B&W1x $11,000 $8,0002x $10,000 $7,500

NON-MEMBER RATEFULL SPREADFOUR-COLOR B&W1x $11,800 $8,4002x $11,400 $8,000

MEMBER RATECOVERFOUR-COLOR 1x $9,3002x $8,000

NON-MEMBER RATECOVERFOUR-COLOR1x $10,9002x $10,300

MEMBER RATEHALF PAGEFOUR-COLOR B&W1x $3,700 $2,8002x $3,100 $2,500

NON-MEMBER RATEHALF PAGEFOUR-COLOR B&W1x $4,000 $3,2002x $3,700 $3,100

MEMBER RATEFULL PAGEFOUR-COLOR B&W1x $5,600 $4,0002x $5,000 $3,700

NON-MEMBER RATEFULL PAGEFOUR-COLOR B&W1x $6,200 $4,3002x $5,800 $4,000

2020 GROSS RATES

SPECS W x HTrim 8.375” x 5.37”Bleed 8.625” x 5.7083”Safe Area 7.7917” x 4.7917”



DEADLINES members say they learn about new products from magazine ads.

4/5



Digital Submission Instructions For Print AdvertisingAd materials are to be supplied as digital files in the preferred PDF/X-1a:2001 format. To match the color expectations of our advertisers, Emerald Expositions requires the PDF/X-1a:2001 file format and a SWOP proof for each ad submitted. Advertiser/agency accepts full responsibility for reproduction variations between the digital file and the printed image for ads submitted in non-preferred formats. Non-adherence to the preferred format may necessitate production fees. Emerald Expositions is not responsible for making corrections to supplied files.

Customer-supplied digital files and SWOP proofs will be retained for up to three months following publication date and then destroyedunless otherwise requested in writing.

PDF/X-1a:2001 File PreparationAdherence to the following guidelines in application file preparation will aid in successful file conversion:• Create ad layouts in a professional

desktop publishing program such as Adobe InDesign® or QuarkXPress™.

• Create one PDF/X-1a file per ad or ad page; spread ads must be submitted as two single page files.

• Orientation: Set native application files in portrait mode at 100% with no rotations. Color: Define all colors as CMYK process. Unintended spot color and or Pantone colors must be converted to CMYK process. RGB, LAB and ICC based colors are not allowed. Black & white images should be saved as single channel black only before placing them into the page. Nested grayscale or nested single channel black may become 4/C when printed. Delete any unused colors.

• Images: Must be high resolution SWOP-compliant with a resolution of 300dpi for CMYK and 1200dpi for black & white images. OPI selections should be turned off. Do not nest EPS files within other EPS files. Save images in TIFF or EPS format, with no embedded color management profiles.

• Total area ink density for color images should not exceed SWOP standard of 300%.

• All ads must be created to trim specification with crops (printer marks) set at trim dimensions placed 12 pts outside the bleed area. Bleed must extend 1/8″ beyond trim. Keep live matter a minimum of 3/8″ from trim edge.

• Type: Fonts must be embedded. Use Postscript Type 1, Open Type or TrueType fonts only. Text containing thin lines, serifs or small lettering should be restricted to one color.

• Layers within any Adobe application file must be flattened. Opacity — all objects, artwork or effects in the document should be set at a maximum of 99 percent before flattening layers.

• Generation of acceptable PDF/X-1a:2001 files is done by the output of a Postscript file (.ps) which is then distilled through Adobe Acrobat Distiller using the PDF/X-1a setting to avoid font, transparency and layering issues. It is recommended that the PDF file be certified PDF/X-1a:2001 using a PDF preflight utility like Adobe Acrobat Professional (version 6 or higher) or Enfocus PitStop.

• For expanded, program specific instructions, please visit:http://www.lsccom.com/prepress/prepare/for-magazine-printing/.

Proofing RequirementsA SWOP certified proof is required for all color ads. Proofs must be representative of the supplied file at actual size and display aprinter’s color control bar. Alternative proofing formats will be used for content only. Visit www.swop.org for a complete list of current certified proofing options. When calling for spot color (Pantone) usage on press, clearly indicate such on the suppliedproof.

NEW PORTAL! New Portal! Please register and submit your PDFX1/a ad file via SendMyAd: emeraldexpoadservices.sendmyad.com/

E-mailed ad submissions are NOT acceptable.

PRINT SUBMISSIONS

FOR MORE INFORMATIONContact Grace Casey at 646-668-3706 or [email protected] for more information regarding these specifications or shipping address.


CONTACTSSALESDONNA PAGLIA, SALES DIRECTOREmerald Expositions

T: 216.373.1210

E: [email protected]

PUBLISHING KAREN DONAGHY, PUBLISHER

Emerald Expositions

T: 646.668.3761


PRODUCTIONGRACE CASEY, PRODUCTION MANAGER

Emerald Expositions

T: 646.668.3706


MATERIALS SUBMISSIONRefer to page 8 for submission guidelines,

requirements, and contact information.

Ad portal: emeraldexpoadservices.sendmyad.com/

Perspective offers advertisers an

opportunity to engage readers while

they maintain their professional

credentials with a three- to five-page

sponsored CEU. The sponsor’s content

will be laid out as an advertorial with

logos clearly spotlighted. In addition,

a CEU questionnaire is added to

the section by the IIDA Education

Department to direct traffic to the

sponsored CEU contribution. Upon

publication in Perspective, the

sponsored CEU is also added to the IIDA

website on the online CEU options page.

Sponsors also receive a full-page, 4/C ad

that will appear in a different section of

the issue at no additional charge.

Specifications for Your Supplied CEU Content• Submit 750 to 1,200 words

(600 words at a minimum).

• Copy should be written in

an editorial tone.

• Please substantiate factual

statements with references.

• Forward images you wish to have

considered for inclusion in your

article as jpeg or tiff format in digital

high resolution, 300 dpi or more.

• Save on a CD or DVD.

• Limited to three images per advertorial.

IIDA retains sole right of editorial

approval over your final submission

to ensure all submissions conform to

Perspective’s grammar and editorial

tone standards. You will receive a

copy of the final, IIDA-edited article

prior to publication.

As we are concerned about the integrity

of graphics and preserving the design

standards of the publication, we cannot

guarantee photos, slides, or diagrams

will be incorporated. The entire editorial

staff at Perspective will do its best to

produce your article in the manner

submitted. However, we do retain the

right to final editorial approval over all

written and graphic materials.

Sponsorship Fees$8,000 for a 4-page sponsored CEU

Speak with your advertising sales

representative for corresponding issue

deadlines.

INDUSTRY IN-DEPTH CEU SPONSORSHIP

2020 persp ctivee MEDIA KIT - The Commercial Interior ...case studies—including workplace,...

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