Archive for: Architecture
Our firm just completed one of the highest profile projects in our 15-year history – it’s a 30-story residential tower – and it’s also one of the best projects that the firm has ever done. As the design partner on the project, I want to get as much coverage in the press as we can. In particular, I’d like to get the project on the radar of architecture critics and the design press. So, my question is, how do we make these connections? Do we go to one person first, or should we submit it to everyone and see who writes about it? Our internal marketing and PR team has varying opinions on our best approach, and I need to make a decision. Can you help?
Well, Mr. High-Riser (or Ms. High-Riser, as the case may be!), first, I want to congratulate you on a job well done! As you know, the Doctor is not an architect, but she knows how hard you and your teams work on your buildings. It is no small feat. Look, I am currently renovating my apartment, and you would think it was as complicated as building the Burj Khalifa – and it seems to be taking just as long (sigh!). Ah, but I digress. The good Doctor wants to talk about YOU.
So, look, there are a number of ways to connect to the design press. It’s important to have a good project, as you do – so, you are already starting off on the right foot! Also make sure that you invest in good photography, because you want to show your project to best advantage. For more tips on that subject, check out architectural photographer Brad Feinknopf’s post on our blog.
As for reaching out to the press, you should certainly send out a press release, which can get you great coverage. Put together a smart, targeted list of contacts in the design press (print and online) and also make sure you include all your different audiences. For example, you want to send out the release to residential publications and real estate reporters as well as design reporters. If there is a sustainability story, put those publications on your list as well.
But! Remember that press are people, too. How would you like to get a mass e-mail? Believe me, the press gets tons of them. It’s like getting a recorded phone message from a political candidate right before an election. That fools no one! So, if you really want to connect with a critic, then the Doctor suggests that you handpick your favorite or favorites. And I’m sure that I don’t need to tell you that all critics are not created equal. For example, you will want to reach out to local critics who have written about tall buildings and/or residential buildings – these will probably be most receptive to your project. Target one person first. Give the writer a quick overview of the project and highlight the most important things. Be clear, compelling and succinct. I mean, in this day and age, who has time to read?
If he or she doesn’t bite (give your first choice a reasonable amount of time to consider the project), then go onto the next. You don’t want to promise the same project to two publications. I know this can be tough, but it’s really the right thing to do. It’s often the same with design magazines, such as Architectural Record and Metropolis: they’ll want an exclusive story – and you can’t blame them for that, especially if you have a great project! On the up side, make sure you build a good relationship from the start and then keep the good work coming!
by Steve Whitehorn
The financial success of any firm is built upon its personal relationships. However, many firms often fail to realize this basic truth. The endless pursuit of new clients to expand market share is an outmoded, counterproductive strategy. You can spend an overwhelming proportion of your marketing budget trying to win new clients, but in the process you miss out on the bottom-line benefits that come from nurturing existing connections.
According to Donna Fenn, contributing editor for Inc. Magazine, acquiring new clients can be costly, while existing relationships are more reliable and profitable. In fact, repeat clients spend close to 70% more than new ones. By investing in existing clients, firms earn trust and fortify their alliances. For example, if you need to renegotiate a fee during the design phase of a project, a long-term contact is more likely to approve a higher fee than a first-time client.
Furthermore, adding a new client to make up for those that leave you is actually decreasing your profits and increasing your marketing costs. If you gain a new client, but lose an existing one because you were unable to give them the attention they need, you end up with the same number of clients as before. Except now, your profit margins will suffer because it costs more to get new customers than to nurture the ones you already have.
Sometimes, however, you need to shake off the dead weight. Just as you can benefit greatly from nurturing your best connections, you should let go of those that aren’t working in your favor. Parting ways with a client may seem counterintuitive. However, difficult clients waste resources and diminish profits. Assess your client list and separate them into three categories, identifying your favorite clients, those you like or need to get to know better, and then those that you would rather not have to deal with. Hopefully, you don’t have anyone in the third category but, if you do, take stock of why you don’t like dealing with this client. Do they always pay late? Do they consistently expect you to double your workload without adjusting your fee? Are they constantly eroding your time with incessant e-mails and phone calls for things that can be addressed at your regular meetings? If your answer is yes to any of these questions, it may be time to part ways.
As an architect or other design professional, you can’t afford to spend time on negative client relationships, especially since your business is subject to unique pressures that often result in diminished budgets and strained cash flow. Think of it this way: the Pareto Principle, also known as the “80/20 Rule,” cited here by Forbes contributor Dave Lavinsky, can demonstrate that 80% of a firm’s profits are generated by 20% of its clients. By keeping strong client relationships and discarding unprofitable alliances, firms free up time and energy to devote to their top 20% clients, resulting in greater financial stability overall.
By recognizing that client relationships directly influence your profitability and by nurturing these relationships as your best assets, you can create a solid foundation on which your business can grow.
Steve Whitehorn is the author of the upcoming book, Ensuring Your Firm’s Legacy, and Managing Principal of Whitehorn Financial Group, Inc. The firm is the creator of The A/E Empowerment Program®, a three-step process that helps firms create a more significant legacy and empowers them to achieve greater impact on their projects, relationships, and communities.
I just started working at an architecture firm, after spending many years in the financial industry. It’s been an exciting career change. As part of my business development activities, I have been attending rehearsals with the partners and project teams as they prepare for interviews. Since I’m a newbie to this industry, I’m struck by the way the architects talk about their work and how they describe it to clients. Most of the time, I have no idea what they’re saying, and I’m concerned that our clients don’t either. Maybe this is the way that architects sell their work, but it seems that there must be a way to communicate that resonates better with potential clients. Any ideas?
Lost in Translation
Dear Lost in Translation,
Well, I certainly relate to your frustration! Don’t worry, the Doctor assures you that what is lost can certainly be found. And it’s not just design professionals who have a hard time communicating their expertise. Believe me, when our IT guy tries to explain what’s wrong with my computer, I think we are talking a different language – and that’s because we actually ARE. I am just glad that he is fluent in Macs, because certainly I am not.
Okay, so back to you, Lost. You are not lost, by the way, you’re on the right track. It’s critical for you, your principals, or indeed anyone in your firm to clearly describe what you do for your clients, how you do it, and why you’re the best at it. Design language isn’t necessarily a bad thing. However, your experts will do themselves a disservice if they can’t speak in a way that clearly explains their vision and value to their clients. So what can you do about it? Keep these things in mind.
- First, know your strengths! Call it an elevator pitch or whatever you want. You need to know why you’re the team that the client needs to hire and how your design will make your clients’ businesses soar. You need to be able to articulate your value proposition in a snap. Show how you have done this for other clients in the past. This is why your partners became architects in the first place, so show your expertise to your best advantage.
- Keep it simple! Look, you’re architects, and you’re all about design. That’s a great thing. But you shouldn’t have to bring a translator to a client meeting. It is your goal – and it’s also a great opportunity – to educate your clients and bring them on board. They need you, but they may not understand your industry. They may be anxious about the look of the building – not to mention the process, fees, and schedule. You can navigate them through uncharted territory. Describe the experience that they will have in your new building, not just the architectural details. Talk about your working process. Focus on how you will help them achieve their goals. These are all keys to a winning communications strategy.
- Speak your client’s language! Make sure, above all, that you do your homework and know what’s important to a client. A meeting or interview should not be a monologue; it’s a conversation. For example, do they want to be sustainable? Have big private offices or collaborative workspaces? Look traditional or hip? Find out their priorities and internalize them. They will use the building every day – you won’t – so demonstrate that you have listened to them and can deliver what they need.
Recently, our partners told me that they want to refresh our brand. We’re a 53-year-old architecture firm. I’ve heard a lot about branding, but I’m not sure what that means. Do we have to design a new logo, create a new website, change our name? It sounds like a lot of work, and I don’t even know where to start. Please help!
Need Some Brand-Aid
Well, look Brand-Aid, it’s the holidays, so you have a little time to relax and think about your big moves for 2015. The Doctor is not such a Scrooge that she doesn’t think that you need a few days off to recharge, just like your smartphone.
But! It will be a new year very soon, and that’s the perfect time to refresh your brand. Ok, so let’s get down to some specifics, because different people define branding in different ways. For example, some consider your logo and graphics to be your brand – the things that we simply used to call your “corporate identity.” And that’s part of it. We’ve all seen outdated logos and graphics, and it’s not a pretty sight. Think about it: you wouldn’t wear a Santa suit on July 4th, so you don’t want to start 2015 with a logo that’s stuck in the 1980s! But there’s more to branding than just your visual identity.
Here at Hausman, we define “brand” as the core values that distinguish your firm. Let’s be clear about this: you’re a professional services firm, not Heinz ketchup! So while you want to promise and deliver great architecture, it’s not just the quality of your product (i.e. buildings) that help you build your brand, it’s also the quality of your services and the level of knowledge that you bring to clients. You need to know what your clients want and need, and then figure out a good way to give them what you want. Hotels here are a good analogy – are you the kind of firm that provides room service and has a spa, or do you have a breakfast buffet and Internet service? Your firm has to figure out what it wants to be. After that, you need to reinforce that brand in every way possible. This includes your “look” or corporate identity (including your website), how you describe yourself, and any proactive communications, such as articles and press releases.
It’s critical to have unified messages about your firm when you talk about how your design process operates and how you pitch the firm to targeted client groups. Just as you are all using the same logo and the same font, make sure you are all making the same promise to clients – and meeting that promise. Most important, branding is about building a strong, solid reputation, and there’s no better selling point than that.
The scary truth about using social media is that it’s not as hard as you think. It’s up to you to decide how you want to use it and which platforms suit your firm best. Social media is an essential tool for successful marketing efforts. Design professionals can share their work and ideas in real time, while simultaneously making connections with one another. Once you start to integrate social media, an inactive social media platform will be about the most frightening sight you’ll see. Here are some tips for how to scare away those communications ghosts that may be lurking in your closets.
Don’t be scared, it’s easier than you think. Twitter and basic LinkedIn accounts are free. They are fast and inexpensive ways to open up communication channels with professional peers and potential clients you don’t know and those you already do. It doesn’t cost anything to maintain, so there’s no need for those hairs on the back of your neck to stand up! If you’re nervous about handling multiple social media accounts at once, consider using dashboard applications such as TweetDeck and Hootsuite to help organize your social networks and make posting a little easier.
You can network quickly. A popular social media platform like Twitter allows you to share information about your work and firm in real time to your followers. Use #hashtags to share your tweet information with an entire Twitter network of like-minded people looking to engage on a similar topic. LinkedIn is an interactive way to make those same connections in a more professional online setting. Do you feel like a petrified mummy about sharing information because you fear it could be misinterpreted? Don’t worry. What’s valuable about social media is that it’s more personable and there are fewer formalities than traditional forms of communication, so leave the dark side and come see the light!
There are design-specific platforms. If it feels like you’re stepping into a house of mirrors and you don’t which way to turn, don’t be afraid! There’s no reason to fear that social media is not geared to the AEC industry because online platforms exist specifically FOR the industry. Useful AEC-centric social media sites include Architizer, Houzz, and Honest Buildings. Each of these web platforms is user-friendly and many have guides to walk you step-by-step through the sites. Their large online communities allow firms and professionals to showcase their projects, and many offer easy-to-navigate forums for exchanging ideas and making connections.
What frightens you most? Creepy crawlers in the night, werewolves howling at full moons, haunted houses, or skeletons in the closet? Well, we’re scared of all those things, too, but what really frightens us is how some people communicate.
You may laugh, but it’s true! We have so many ways to communicate these days (some may say that we have a lot of ways to communicate badly) that it can seem like you’re always walking the plank over the treacherous and deep waters of messages and meanings.
Let’s take just the easiest example – and we’ve all done it. Did you hit “reply all” when you wrote a message that was just intended for one person? Did you send the right e-mail to the wrong contact? Or, just after you tossed off that angry e-mail to your (fill in the blank) boss/ex-boyfriend/brother, did dread and fear of the future consequences start to invade your body like a quick poison? For more on that topic, see this recent Wall Street Journal article here.
There are many frightening examples of the scary ways that people communicate. And, in many instances, you can’t blame it on e-mail or digital technologies. In fact, the following examples are downright terrifying.
Take these examples from The Toronto News of July 26, 1977. Keep in mind that they are actual statements from insurance claim forms where drivers attempted to summarize the details of their accidents:
“I thought my window was down, but I found out it was up when I put my head through it.”
“I pulled away from the side of the road, glanced at my mother-in-law, and headed over the embankment.”
“I saw a slow-moving, sad-faced old gentleman as he bounced off the hood of my car.”
If these sentences make your blood turn to ice, check out these examples and figure out what the author is trying to say:
“I urge you to waste no time making this candidate an offer of employment.” (Are you urging the person to hire the candidate or are you saying the candidate is not worth further consideration?)
“You will be fortunate to get this person to work for you.” (Is this person a great job candidate, or is this person extremely lazy?)
So, now that we’ve discussed the perils of communication, here are some ways to get the spook out of your spin:
- Chase away the miscommunication. It’s great that you can send an e-mail from a smart phone, but you need to remember that that e-mail is still a professional document. Make sure that you are being very clear and concise. If you’re not sure if you’re getting your message across, ask someone to take a look at your e-mail before you send it. By all means, don’t put a tagline on your e-mails that says “please excuse typos” – that’s for goblins and ghosts. Read over your e-mails thoroughly before you send them. There’s no excuse.
- Don’t be scared to pick up the phone. E-mail can be a terrific communications tool – it’s easy, it’s fast, and you can send an e-mail almost anywhere. At the same time, it’s not always the perfect way to get your point across, and your tone in an e-mail can be easily misconstrued. Don’t send an e-mail to someone sitting three feet away from you. And don’t send a four-paragraph e-mail to your printer to clarify how many business cards you need. Before you send a dozen e-mails back and forth in the same e-mail chain, do yourself a favor and pick up the phone. It will be a treat, not a trick!
- Bury the jargon. When you’re in a profession like architecture, you’re going to use a lot of words and phrases that help you communicate with your colleagues. Unfortunately, when you use this jargon around other people, they’re going to think you’re Frankenstein. If you really want to talk to potential clients and other audiences – and get them to understand you – then go to the cemetery at 2 a.m. and bury that jargon in a deep grave (full moon optional). Going forward, make sure you use plain language to convey your ideas and messages. You’ll be amazed at how clearly you’ll be able to communicate.
Image courtesy Platt College
Photographed by Sabrina Ahern
Jessica Wyman is principal and creative director of Wyman Projects, a graphic design and web development consultancy based in New York City. As a graphic designer with a degree in architecture, she has ten years of experience collaborating with architects, interior designers, engineers, and A/E/C consultants, to create meaningful print and web experiences that communicate professionalism and integrity. Jessica is currently art director for Oculus, AIA New York’s quarterly publication; and she regularly presents at the Chapter’s annual Fellows Workshop for FAIA candidates.
By Jessica Wyman, Wyman Projects
Have you ever visited a website where the copyright or blog posts date back to 2006? I have, and it saddens me to think that those companies spent a small fortune designing a website that quickly became stale and forgotten.
Thankfully, website development has come a long way since then. With out-of-the-box Content Management Systems (CMS) such as WordPress and Drupal, building dynamic online experiences that are easy-to-use and easy-to-manage is within every design professional’s budget.
Still, building an effective website that will showcase your portfolio, communicate your expertise and get you new projects requires a thoughtful, strategic approach. Before you begin designing your new site, here are some things to think about:
Design Smart. One of the first things you should determine before designing your new website is its purpose. Who are you trying to reach with this new site? Potential clients? The media? Fans? All of the above? For most AEC professionals, a website is a tool to communicate your expertise and to convince prospective clients to take action and connect with you.
While your new site should reflect your firm’s personality and culture, its format, content, and design will need to appeal to prospective users. Unfortunately, design professionals often make the mistake of designing a site that they like rather than designing one that will be effective in reaching their target audiences.
So how do you do this? Understanding your company’s mission – and which clients you want to serve – is key to pinpointing the needs and habits of your target audiences.
Will your visitors be using a computer or mobile device to view the site? Is there anything you can learn from your current website’s analytics, such as pages with the highest bounce rate? What information does your target audience need most and how will you shape the user’s journey to satisfy those needs?
Think Big. Gone are the days of table-based layouts and small browser sizes, which resulted in small-scale images on the user’s screen. You are a design professional with beautiful project photography; so don’t be afraid to go full bleed. Consider using a full browser slideshow on your home page or project pages to make an impact and to define a mood.
Less is More. The impulse to feature or list every single project on your website is a mistake many design professionals make. A website should have enough curated content to communicate expertise and personality, while leaving the visitor curious enough to contact your firm for more information.
Cross-Pollinate. Create relationships between content and pages on the website to engage visitors. Curiosity keeps users clicking and strategies such as suggesting links to “Related Content” or crosslinking press items or bios will retain visitors and improve site analytics.
Don’t hide your contact information. This may seem like a no-brainer, but it is surprising how many company websites hide contact information under submenus. Include a phone number and email address on the home page; and consider designing a special splash page with contact information and a map for mobile visitors.
Launch Strategy. Once you’ve designed and launched your website successfully…now what? Don’t let all your hard work go to waste. Create a content strategy that includes a schedule for updating your new website with new projects, news items, blog posts, and links to your social media platforms.
Clients and prospective employees want to work with design professionals who are active and innovative thought leaders; providing these visitors with fresh content monthly, if not weekly, is key to engaging, and ultimately working with, your ideal clients.
This month, we’re giving AEC industry professionals tips on the best ways to improve their websites. In our first installment, nationally recognized architectural photographer Brad Feinknopf offers insight on investing in good photography. The Columbus-based photographer has been shooting architecture and commercial related images for over 25 years. His images have been published worldwide and over his career has done a wide variety of work for many of the world’s well-known architects and designers. Brad was recently selected by ArchDaily as one of the Top 13 Architectural Photographers in the World to Follow.
By Brad Feinknopf
We live in a visual society. People gravitate to the image. In Eric Bricker’s 2008 documentary film, Visual Acoustics: The Modernism of Julius Shulman, narrator Dustin Hoffman quotes the renowned architectural photographer saying,
“Architects live and die by the images taken of their work; as these images alone are what people see. For every one person who visits a private house, there may be ten thousand who only view it as a photo.”
This quote – which I’ve proudly attached to my e-mail signature – was made before the advent of the Internet and those “ten thousand” people to which Shulman refers could now easily number in the hundreds of thousands or even millions when one considers the multitude of Design and Architectural blogs that publish imagery.
Digital newsletters and alerts from top architectural blogs like ArchDaily or Architizer show up in your inbox, largely as a series of images, and only when you click on them do you get the words. Instagram, Flickr, Tumblr, Stumbledupon and other image-driven social media platforms are growing exponentially. Even Twitter, which is a text-based platform, has become a popular vehicle for disseminating links to videos and images.
Would you maintain a subscription to Architect, Architectural Record, Interior Design or Contract if there were no photography? How many periodicals do you read that contain mere pontifications on design and present no images? Obviously, imagery is important and it’s not just important, it’s paramount.
I am an architectural photographer and I should know. When someone visits my website, I have one chance to grab their attention. I have tirelessly gone through my galleries to make certain that each one shows depth. I constantly update my online portfolios so they maintain their freshness, and I try to make sure my descriptions are strong, cohesive and grammatically correct. But in the end, it is the first handful of images – and these images alone – that will either compel the viewer to delve deeper into my website or move on.
As you market your projects, your challenge is exactly the same as mine. When a visitor lands on your website, you need the right photography to draw the viewer in or they will click away to someone else’s homepage.
The same is true for competitions and the press. I’ve spoken about the importance of imagery to numerous editors for prominent architecture and design publications, as well as jurors for AIA and other major competitions at every level. They all say the same thing: “The first cut is made entirely based upon photography. If the photography isn’t good, we move on. If the photography is good and the project looks interesting, we look deeper.”
Regardless, whether the material is your website, an awards submittal or a package for a print or online publication, it is the photography you are using that will ultimately move you beyond the first pass.
In light of this, try viewing photography not as an expense but as an investment. Like any investment, good photography should provide a return: it should garner you new work, help you win awards, and, hopefully, even get your firm and your projects published.
The way I see it, if my clients get new commissions, win awards, or get published, I have, in some small capacity, helped them to succeed through my photography. I’m not so arrogant as to believe that their success is solely due to my work and my images, but I will say that a good project with great photography will often go much farther than a great project with poor photography. Likewise, if you have a great project with equally great photography, the possibilities may be endless.
So, when you’re looking at your website and thinking, “How can we do things better? How can we win that next commission, or that next award? How can we get ourselves published?” You will almost always find the answer by looking to your imagery. Is it up to snuff? Could it be better? Investing in the right photography could very likely be one of the most critical factors in determining the level of success your firm may enjoy in the years ahead.
In this month’s series of posts, we’re exploring the effectiveness of materials outside of photography. We’ll give you tips on how to increase your outreach using materials from different mediums ranging from visual to printed. Take a look in the following post to see how investing the time to write a book can improve your integrated communications program and help you to build influence.
By Dr. Tami Hausman
So you’re an architect, and you design buildings, but you want to…write a book? Well, you’re in good company. Throughout history, architects have a rich tradition of writing and publishing. Think of The Ten Books of Architecture by Vitruvius or The Four Books of Architecture by Andrea Palladio. In more recent times, some of the busiest architects have been the most prolific – such as Le Corbusier or even Rem Koolhaas.
Writing a book is, admittedly, a big undertaking. In a world of texts and tweets, it can seem a bit anachronistic (you might be asking: does anyone actually buy books anymore, much less read them?). Well, they do, and the time that you put into writing a book can be well worth the payoff.
Books make a great part of your integrated communications program and help you to build influence by establishing your firm’s position in the marketplace. They can also increase your brand awareness, be a strong sales and marketing tool that generates new prospects, and set you apart from your competition – through your design, ideas, approach, people, etc.
We at Hausman LLC are big advocates for the printed page. We also believe that – for greatest effect – you must be strategic. So, before you get started, here are some of the things that you’ll want to have in place:
Your reason for writing the book. A book is a big investment in time, money and resources. So you need to be clear about why you’re doing it: do you want to celebrate a milestone, such as an anniversary, highlight an area of specialty, or talk about a proprietary approach or process? These are all good reasons, but you need to pick one, and then stick to that decision.
Your topic and format. Many books by or about architects are monographs. Monographs are extremely useful, as they can put you on the proverbial map. They are good ways to demonstrate that you have a strong portfolio of work, or that you have been in business for a specific length of time. But consider this: you also write a book about a particular project type in which you excel; one standalone, great project; or even an industry trend. You’ll also want to think about the size of the book and its format.
Your timeframe. Books can take a long time to write, design, edit, print and publish. So be sure that you plan ahead. Even if you assign one person to the project, you will invariably need a good, concentrated team of people to get the job done. You’ll also need to factor in a lot of principals’ time. Before you start, make sure you clear the decks.
Your authors. A book can be written by one person or many people. You may already have some content on hand but, in most cases, you’ll need to generate a lot of new text. Someone will have to fill in the gaps. You can enlist a team of people on your staff, write it yourself, or hire a ghostwriter.
Visual material, including – but not limited to – photography. Whatever kind of book you write, you’ll need visual material. It is best to have this on hand before you start. So, if you need to dig through your archives and scan old images, then don’t delay. If you need to create new presentation materials or new renderings, get them started before you set the wheels in motion. You don’t want the images to hold up production.
Your publisher. There are a number of different publishers from which you can choose. Some of the most common include: Images Publishing Group, Oro Editions, Princeton Architectural Press, The Monacelli Press, and Wiley. They all have different fee structures and conditions, so take the time and do your research to find which one is the best fit.
Last month’s theme explored the importance of incorporating a broad range of strategic tools to communicate about your firm. Another effective approach to promoting your projects is to use drawings, renderings, diagrams, and other visual representations.
You probably have lots of drawings, elevations, site plans, and diagrams you’ve created for projects to show to clients during the design process. These materials can also be effective tools to use when promoting your projects.
Photographs are essential tools for promoting projects, but sometimes they don’t completely capture a project’s design. To communicate a building’s function or to magnify the less obvious design features of a project, try using drawings and diagrams.
Cross-sections. A drawing that shows a cross section of your project is an effective way to show detail. Showing a cutaway view of the interior helps magnify specific design elements that might otherwise be hard to express with photography or in a press release. For example, if a journalist wants to describe the challenges of a staircase reconfiguration, a cross-section drawing can help illustrate the stair’s design.
Diagrams. Using an architectural diagram is beneficial for illustrating how your design works. If you pair a diagram to a description in a press release that uses more technical language, the language can become more digestible for a journalist. Visual clarification of the more complicated features of a project helps the press better follow along with what design challenges took place, and in turn convey the subtle aspects of your project more accurately. Just remember to keep your diagrams simple and easy to follow.
Renderings. As you know, renderings give a clearer picture of what your building will eventually look like and illustrate the complexities of your design. Use renderings as supplementary press materials to actively engage the media about your project even while your project is still under construction.
Site plans. As you are aware, sharing a bird’s-eye view of a building with the press can offer a glimpse into your design process by providing a more comprehensive view of a project. In contrast, a photograph captures only a specific part, so it is helpful to include a clear site plan that provides an additional perspective. Enhancing a site plan with colors to differentiate areas can help a journalist more easily understand a building’s layout and design.
Keep in mind that while drawings tend to sometimes be overshadowed by the conventional appeal of photography, they also serve as highly effective communications tools for your projects. Drawings are essential for your design process, but they are equally important to share with the press to highlight your project’s exceptional design features!