2019 persp ctivee media kit...healthcare, hospitality, education, and retail spaces—and...

2019 Media Kit perspective 1

2019

KITMEDIA

p e r s p c t i v ee


DEAR PERSPECTIVE ADVERTISER:

Perspective is the thought leadershipjournal of IIDA, the commercial interior design association with global reach. Collectively written and edited by design journalists in collaboration with IIDA, Perspective offers fresh points of view, bleeding-edge case studies of interior design today—including workplace, healthcare, hospitality, education, and retail spaces—and thought-provoking deep dives into the issues shaping the industry. Targeted to a dedicated readership of design principals, design directors, and professionals practicing at every level in the industry in firms around the world, the magazine offers readers a unique “perspective” that designers appreciate, share, and archive for future reference and inspiration.

As an Association, IIDA promotes the industry of commercial interior design and supports designers who play an active role in determining how the complexities of the built environment affect society at large. As an extension of IIDA, Perspective reaches beyond your local community of interior designers, engaging an audience of more than 15,000 members across 58 countries—many of whom are practicing at the highest levels in the industry—with a distinctive voice and clear purpose.

Show your support of the industry while reaching influential design professionals with your messaging and products. 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.

We have special advertising opportunities for IIDA Industry Members, including complimentary half-page ads for new members.

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

FROM IIDA

Perspective reaches beyond your local community of

interior designers, engaging an audience of more than

COUNTRIES.58

15,000MEMBERS

ACROSS

“

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MISSION Published three times 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.

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EXPER

IEN CEREDESIGNING GENDER

THE REAL DEAL

SUPERMARKET SHIFT

SAFE SPACES

READY FOR TAKEOFF

p e r s p c t i v ee

DESIGN IS LIFE. IIDA IS DESIGN.IIDA.org | Spring 2018

IIDA March 2018 COVER.indd 1 2/26/18 10:36 AM

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

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A completely reimagined feature well

and mix of departments explore the

topics that matter most to commercial

designers:

• design trends and innovation

• humanity + culture

• business + leadership intelligence

• industry developments

• global advocacy

18 perspective iida.org/perspective spring 2018 perspective 19

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GENDERREDESIGNING

As the cultural conversation shifts beyond binary ideas of gender, designers are starting to reconsider what makes a space inclusive.By Kate Rockwood

EDITORIAL

SUPERMARKET

SHIFTBy Novid Parsi

Evolving expectations among shoppers and ever-expanding tech offerings are shaking up the grocery store. Retailers must redesign and reimagine—or be prepared to check out.

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.

SAFESPACES

As the fear of violent

incidents around the

world increases, designers face

the challenge of protecting the

public from threats while still

bringing beauty to interior spaces. By Steve Hendershot

24 perspective iida.org/perspective spring 2018 perspective 25

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Designers are

turning to data and

employee input to

hone the programming

process. Armed with

information, they’re

creating custom spaces

that fit the true needs of

a business.

By Shaila Wunderlich

THE For the Vitra-SwissCoTec offices, located in the Design District of Dubai, United Arab Emirates, Pallavi Dean Interiors worked to create a space that embodies the Vitra mission to improve the quality of homes, offices, and public spaces through the power of design.

Pallavi Dean, founder, Pallavi Dean Interiors,

Dubai, United Arab Emirates

spring 2018 perspective 15

Stats + Design + Analysis | DATA VIZ

14 perspective iida.org/perspective

TALK, TALK | 2 Designers On 1 Topic

A By | Emily Brooks

TWO INDUSTRY LEADERS deconstruct tech

advancements that are creating new opportunities in

lighting design.

Advancements in lighting design technology are helping the field carve out a bigger place in the interior design world. “Among architects and interior designers, there is now a better understanding than I’ve ever seen before of the impact of the application of light,” says Paul Nulty, founder of lighting design company Nulty, which has offices in London, England; Dubai, United Arab Emirates; and Beirut, Lebanon.

Nulty has worked on projects such as hotel and members’ club The Ned in London and the Bloomingdale’s in Kuwait City, Kuwait. He recently spoke about what the future might hold for the industry with Suzan Tillotson, IALD, MIES, president of Tillotson Design Associates, New York, New York, USA. Tillotson’s portfolio includes the New European Headquarters for Bloomberg and the Diane von Furstenberg Studio in New York.

PERSPECTIVE: What are the major changes

that you see coming for the lighting industry in

the next five to 10 years?

SUZAN TILLOTSON: I don’t think the way we design lighting will change, but I do hope that the way we deliver lighting will change, and that means we’ll need new products. Although the products have changed enormously in the last five to 10 years, there’s not enough creative reimagining by manufacturers of what lighting could be: We’re still limited to linear sources and point sources. In theory, now that LED point sources are so small, the sky is the limit, so I’m hoping for great changes.PAUL NULTY: To me, it’s a much bigger picture than just the hardware and more about the software—the way products are used. It’s about the application of light to improve quality of space. We are really starting to think about how people use space; however, I utterly hate the term “human-centric lighting.” People have been lighting space with other people in mind for a very long time. We must not let manufacturers take

Source: 2017 American Express Restaurant Trade Survey, American Express; Restaurant 2025, Oracle, 2017

The latest restaurant obsession isn’t a hot new pop-up spot or shakshuka. It’s technology. And designers need to be ready to integrate it into future projects without falling for the latest shiny tech toy.

SERVING UP TECH

Would find voice ordering via smartwatches or wearables INVASIVE

66% Guests paying by wearables

54% Gathering guest feedback by voice

46% Using facial recognition and 3D imaging for security

44% 3D printing cutlery/plates

Say being able to adjust lighting/music in a

restaurant by voice would IMPROVE their experience

Say facial-recognition software would IMPROVE

their experience

Would find being served by a robot INVASIVE

Restaurant owners and managers are looking at going digital to enhance customer experience.

And that’s only the appetizer. Restaurant operators expect more cutting-edge tech advances to go mainstream by 2025.

But how much tech are diners willing to stomach?

Restaurant operators also predict tech will have a significant role in planning and design by 2025:

7% Use automated customer service technology such as digital kiosks or tableside ordering

26% Plan to or are considering adopting it in the future

Predict mass adoption of location planning using artificial intelligence

60%Predict mass adoption of site design/flow optimization through virtual reality

53%

38% 49% 41% 50%

over, offering products that are “human-centric compatible.” What does that mean? It’s garbage.

PERSPECTIVE: How is LED technology

going to develop?

TILLOTSON: We have incredible controllability with LED and color chips. It’s opened up this amazing world, where brands can have their own specific color of light: Gucci and Michael Kors, for example, can have their own color of white. It’s really great in terms of branding, but I’m not sure anyone but a few of these high-end luxury retailers know that this is now available. It goes back to that issue of color and light and its effect on people.NULTY: In a recent project for Estée Lauder, we built a whole new LED chip specifically for lighting skin tone, tinkering with phosphate mixes to improve color rendering. In retail, these clever tricks to aid sales are becoming more important.TILLOTSON: We have incredible controllability with LED and the color chips, but there are some risks. Some manufacturers are promoting these products as good for your health. For example, they’ll say that changing the light to a warmer shade during the day improves your well-being. But I think that puts designers in a dangerous place because these marketing tactics are really directed toward laypeople. As lighting designers, we must educate clients about the pitfalls of blindly accepting what is told to them about these products.

PERSPECTIVE: Is it hard keeping up with

the latest scientific research that might

have an impact on the way you work in

the future?

NULTY: It’s hard to keep up with the latest research, but it’s important that we do keep up with it. Lighting designers can be inward looking, and I

don’t think there’s enough looking outward to other industries. The scientific research we do see tends to come from product manufacturers, who have greater R&D budgets.

—Suzan Tillotson, IALD, MIES

“

I don’t think the way we use lighting will change,

but I do hope that the way

we deliver lighting will

change, and that

needs new products.

Suzan Tillotson, IALD, MIES

Paul Nulty

“


Merch Martp. 57

WHYTHISDESIGNWORKS | Breaking Down a Design

TThis Austrian museum celebrates the history of the humblest of foods: bread. Paneum is the brainchild of Peter Augendopler, owner of bread company backaldrin, who commissioned architecture firm Coop Himmelb(l)au to design the building and its interiors. The curvy structure houses an exhibition of 1,200 objects, including Egyptian grain mummies and the second-oldest bakers book in the world, which belonged to the Brotherhood of Bakers of Padua. The exhibition was designed by Gruppe Gut, Bolzano, Italy. “The exhibition area is based on the idea of a contemporary Wunderkammer—a cabinet of curiosities,” says Wolf D. Prix, founder of Coop Himmelb(l)au. “The design helps to create an element of wonder.” Exhibits line the curved walls and hang in the void of a spiral staircase. “It gives the room a dynamic pull,” says Prix, who adds that “the curved lines allow the visitor—in the truest sense of the word—to circle all areas of the exhibition.” —Emily Brooks

RISING CURIOSITIES

PROJECT DETAILS:Paneum —Wunderkammer des Brotes (“House of Bread”)Asten, Austria

DESIGNER: Coop Himmelb(l)au

OPENED: October 2017 Ph

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Inspired by artist Maurizio Cattelan’s installation at the Solomon R.

Guggenheim Museum, the more unusual exhibits are suspended in the staircase.

The inner wall of the staircase is used as a

gallery for paintings.

The atrium is enclosed by a freestanding

spiral staircase

so visitors can view the

exhibits.

Timber on the floors and walls provides

a sense of warmth that is a counterpoint to the staircase.

Curved walls gently guide visitors up and around the

two-story museum.


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INSIDER INTEL | What’s Next

“ “Gift shops have started

being more like retail stores.

—George Anthony Gottl, CEO, UXUS, Amsterdam,

Netherlands

INDUSTRY QUICK TAKE: George Anthony Gottl, CEO, UXUS, Amsterdam, Netherlands

PERSPECTIVE: How are museums renewing focus on gift shop design?

GEORGE ANTHONY GOTTL: As government funding starts to dry up—in Britain, for example, 45 per-cent of national museums reported a decrease in public funding between 2015 and 2016, according to the Museums Association—museums are beginning to understand how important commerce is in terms of being able to support the museum’s activities. Gift shops have started being more like retail stores. They offer a broader spectrum of products. Museums themselves are becoming manufacturers and retailers.

PERSPECTIVE: How is this changing design?

GOTTL: You have to really pay attention to how products are being presented. That’s a big difference between the old gift shop and the new retail experience. The products are really showcased to their best potential; it’s about enticement and seduction.

Flexibility is also a critical part of it. One of the focuses of our design for the Tate Modern gift store in London, England was to make sure they could accommodate all of the different [products featured in the space]—not only the product ranges that mirror the museum shows, but also their own unique products and the extensive book collection.

We developed bespoke gondola display units that can be adapted to showcase everything from pillows, stationery, and notebooks to clothing, jewelry, and posters. They are like mini boutiques that frame the product within the cavernous space.

PERSPECTIVE: What are the challenges of creating a store within a wider museum space?

GOTTL: The Herzog & de Meuron space at the Tate Modern was challenging to work with, as it was so vast. We had to figure out how to display things like earrings in such a cavernous and architecturally stunning interior. It’s an awe-inspiring, cathedrallike space, but that’s not good for shopping, so we had to bring everything down to human scale.

Lighting is critical when it comes to display, so we dropped a lighting grid down from the ceiling in order to light products properly, and some of the display units carried their own lights.

We used black steel to blend with the industrial flavor of the space but also introduced different types of wood. The store won’t age because it’s tied to the architecture of the building.

Taking Stock of the MUSEUM SHOP

October 23 - 27, 2018Cologne, Germany

www.orgatec.com

EXHIBITORS: • 670+ • 40 countries

VISITORS:• 56,000

• 118 countries

ORGATEC - New visions of workAttend the one and only fair for o�ce interiors!

85% of trade visitors have purchasing authority 95% of trade visitors would recommend visiting ORGATEC to a close business associate

Contact our Koelnmesse Chicago o�ce for exhibit and visitor info: 773-326-9920

The Tate Modern gift shop, designed

by UXUS.

IIDA-March2018-G-Back.indd 52 2/26/18 12:02 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

2019 EDITORIAL CALENDAR


March 2019 Issue Features

Modernity Meets History

The Future of Materials Manufacturing

The Psychology of Sharing

Flexibility: The Next Frontier

June (NeoCon) 2019 Issue Features

Special IIDA 25th Anniversary Content

Reimagining the Mall

What Hotel Execs Want

That Creative Spark

Standing Up on Sitting

✹ BONUS DISTRIBUTION AT NEOCON

November 2019 Issue Features

Decreasing Trauma Through Design

Design’s Next 25 Years

Fashion + Interior Design

Prepared for the Worst


ADVERTISING

AD SIZE FULL SPREAD

AD SIZE COVER/FULL PAGE

AD SIZE 1/2 PAGE HORIZONTAL

AD SIZE 1/2 PAGE VERTICAL

MARCH ISSUEAd Close January 24Materials Due January 31

JUNE ISSUEAd Close April 15Materials Due April 24

NOVEMBER ISSUEAd Close September 25Materials Due October 4

MEMBER RATEFULL SPREAD FOUR-COLOR B&W1x $10,700 $7,8002x $9,800 $7,3003x $9,270 $7,000

NON-MEMBER RATEFULL SPREADFOUR-COLOR B&W1x $11,400 $8,2002x $11,000 $7,8003x $10,300 $7,400

MEMBER RATECOVERFOUR-COLOR 1x $9,0002x $7,7003x $7,200

NON-MEMBER RATECOVERFOUR-COLOR1x $10,6002x $10,0003x $9,600

MEMBER RATEHALF PAGEFOUR-COLOR B&W1x $3,600 $2,7002x $3,100 $2,4003x $2,900 $2,300

NON-MEMBER RATEHALF PAGEFOUR-COLOR B&W1x $4,000 $3,1002x $3,600 $3,000

3x $3,400 $2,800

MEMBER RATEFULL PAGEFOUR-COLOR B&W1x $5,400 $3,9002x $5,000 $3,6003x $4,600 $3,400

NON-MEMBER RATEFULL PAGEFOUR-COLOR B&W1x $6,000 $4,1202x $5,600 $3,9003x $5,300 $3,700

2018 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

2019 persp ctivee media kit...healthcare, hospitality, education, and retail spaces—and...

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