2020 Media Kit perspective 1
2020
KITMEDIA
p e r s p c t i v ee
2020 Media Kit perspective 2
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
“
“
2020 Media Kit perspective 3
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
Pe
rspe
ctiv
eS
um
mer 2
019
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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aig
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2020 Media Kit perspective 4
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
2020 Media Kit perspective 5
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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by: ©
Kaj L
eh
ner
(Ben
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ikt
Hart
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56 perspective iida.org/perspective
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
2020 Media Kit perspective 6
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
2020 Media Kit perspective 7
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”
SPECS W x HTrim 16.75” x 10.875”Bleed 17.00” x 11.125”Safe Area 15.75” x 9.875”
SPECS W x HTrim 8.375” x 10.875”Bleed 8.625” x 11.125”Safe Area 7.7917” x 10.2917”
DEADLINES members say they learn about new products from magazine ads.
4/5
SPECS W x HTrim 3.625” x 10.875”Bleed 4.125” x 11.125”Safe Area 3.375” x 9.875”
2020 Media Kit perspective 8
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.
2020 Media Kit perspective 9
CONTACTSSALESDONNA PAGLIA, SALES DIRECTOREmerald Expositions
T: 216.373.1210
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