Archive for: Design
This post is the first in our new series “FunHaus” where we explore the people, places, and things we love. Enter the FunHaus!
“A new standard for online journalism,” commented Bencharif on the The New York Times’ review of the new Whitney Museum.
We couldn’t agree more. The review, if that’s still the right word for it, was a collaboration between writer Michael Kimmelman, a team of graphic artists, and the architect Renzo Piano – produced entirely without photography of the new museum. The goal was to “create a seamless experience that would leave readers with a greater understanding of the building than could be achieved in a more traditional story form,” wrote Graham Roberts, one of the graphic artists. Mission accomplished.
Architecture lends itself marvelously to video. It’s a visual medium, obviously, but also a kinetic one. Time is one of its components: buildings are designed to be moved through (see our recent post on architecture as experience by guest blogger and architectural historian, John Kriskiewicz). Designers looking to get their work published, even without photography, should consider creating similar fly-throughs with their existing 3-D models.
Kimmelman’s words are punctuated by several kinetic experiences. The reader/viewer passes through walls, zips backwards along an interior corridor, zooms in and out. The videos move fast, but one of the lovelier moments is a lingering slideshow of historic images of the uptown building.
No buttons to press, no links to follow; the experience is automatic. This curated approach is not to everyone’s taste. M Hagood in Brooklyn said, “I am giving up, because the design keeps hijacking my page and sending me off on a visual roller coaster. Look, I like design. I teach design. This is just a pain in the behind.” Overall, however, the reception was enthusiastic. Richard in Denver gets the last word: “The best review overall in decades.”
This month, we’re focusing on the experience of architecture. We welcome our special guest blogger, architectural historian John Kriskiewicz, Assoc. AIA, who takes us on a journey through two iconic New York buildings to illustrate his views on “architecture as experience.”
A native New Yorker, John holds a professional degree in architecture from Pratt Institute and is a board member of DOCOMOMO New York/Tri-State. Over the past two decades, he has taught courses focused on architectural and planning history at Parsons School of Design, The Cooper Union, Fashion Institute of Technology, Stern College for Women, and Manhattan College, while designing tour programs and lectures for many of New York City’s institutions and corporations. His many exhibitions and articles have revealed history and preservation issues to a broad audience. John admits to a special affinity for New York’s extensive infrastructure, as well as its Mid-Century Modern heritage.
“When I enter a dwelling, I experience atmospheres one after the other – sequences of light and shade, of narrowness and space. There is a scenography, a dramatic structure for the space. Architecture is great cinema.We design buildings like films, whose power lies in leading us through worlds and catching hold of our emotions.” – Architect Thomas Willemeit of the Berlin-LA-Beijing firm Graft , 2015
The importance of scenography and sequence was understood by architects trained according to Beaux-Arts philosophies at the end of the nineteenth and the early twentieth century. They knew this carefully choreographed procession through space as “marche”, the French verb “to walk”.
“Marche” is the sequence we experience at Carrère and Hastings’s New York Public Library of 1911 on Fifth Avenue.
Ascending a set of broad stone stairs, from the level of the sidewalk, to a spacious terrace, we are encouraged to pause a moment to take in our surroundings, just above the heads of the crowds on the avenue behind us. In front of us, we survey a wide, white marble façade. The triple arched entry beckons us forward, up a higher set of white marble stairs, to the entrance portico. Here we are in transition, neither quite inside nor out. Through a low bronze door we are compressed for a moment, then we are released into an eruption of space. Surrounded by creamy white marble lit by both electric and natural light that pulls us ever upwards, towards the vast reading room. This most spacious, brightest, most elaborate public space, is the heart and soul of the building.
Through this choreographed sequence of spaces, materials, and light, we’ve made a journey from the quotidian, into the realm of the intellect. An architectural metaphor for the process of enlightenment.
Often, the most dispiriting of architectural experiences is air travel. Eero Saarinen’s whimsical 1962 Trans World Airlines Flight Center, now part of Jet Blue’s Terminal 5 at Kennedy International Airport reminds us of a different era. In his words,
“We wanted passengers passing through the building to experience a fully-designed environment in which each part arises from another and everything belongs to the same formal world.”
Saarinen’s concept, provided the passenger with a similar journey from the everyday into the glamorous world of air travel. A “jet-age” reinterpretation of “marche”.
For this example I must revert to the past tense. There are plans, however, that may allow us to experience what was, once more.
New York International Airport at Idlewild, planned by architect Wallace Harrison as “Terminal City”, placed TWA at a prominent bend along the circumferential roadway.
Designed to be experienced first through the windshield of a private automobile or taxi, this location was critical to the initial experience. Like the Beaux-Arts Public Library on its broad terrace, we are given the opportunity to comprehend the whole from the roadway before we enter. The building’s iconic silhouette was both a progressive corporate symbol and widely understood metaphor for flight.
If architecture is “frozen music”, TWA is Bossa Nova. Like that lyrical fusion of samba and jazz, TWA is smooth, sensual, expressive and Modern. Thin shell concrete, sinuously forms a porte coche, as we stepped from the car. Through glass automatic doors into a day lit, sculptural space, matte white circular tiles grew into fantastic forms; bridges, terraces, reception desks, arrival and departure boards. Up a half flight to a “TWA red” carpeted terrace. There, a sunken, red upholstered seating area where we could pause to survey a panorama of jet craft, through a broad, curved glass wall.
No need to descend to the tarmac to then climb up a rolling stair to the entry door of the plane, like all other terminals of the day. Instead, we walked from the daylight of the terminal terrace through white tubes awash with a luminescence whose source is hidden beneath the crimson carpeted paths. Gradually ascending, our destination was momentarily hidden by the arch of the tube, and then revealed: the “flight wing”. Here once again, daylight poured through glass walls and “jetways” connected directly to the aircraft.
From automobile drop off to aircraft, a seamless journey, made memorable by attention throughout to space, form, color, material.
From different eras, designed for different functions, yet The New York Public Library and The TWA Flight Center share that unmistakable, memorable quality of architecture as experience.
The “experience” of architecture is multi-sensory. Visiting a building in person can evoke a complex set of stimuli and sensations, from how light enters the space to the way a stone floor “feels” beneath your feet. When it comes to promoting your work and trying to share this experience with the media, you can invite editors and journalists to visit in person. But how can you convey a similar experience of your project through other means?
Conducting a “virtual” tour of your project using video can be a great way to allow your audiences to experience your project. Even though your “guests” won’t physically inhabit the space, a virtual tour can provide an effective facsimile and may even entice them to visit in person.
Social media platforms that use video and live streaming can bring your projects to life and share them with a global audience. Users can virtually experience your project, and you can tell the building’s story in a three-dimensional way; this is something two-dimensional photographs can’t do.
Let’s look at a few ways you can share the experience of your projects with your fans, the media, and other audiences using digital and social media together.
Promote your project via a “virtual tour” using social media
Shoot a short video walkthrough of your project. Take the opportunity to highlight special features of the building. Next, post it on social media to give your audience an inside perspective of your project. This way, anyone can “visit” your project no matter where they are in the world. You can also send the video out to editors and writers as a way to introduce them to your project or even invite them to visit the project in person.
Online design publications love to post video because it generates clicks, so send them your virtual tour via direct Tweet; it’s a great way to get an editor’s attention. If you’ve planned a grand opening, in-person media tour, or other live event, a 30-second video posted to Twitter or a 15-second clip on Instagram can be an effective teaser to build interest in that event. Posting your video to all of your active social media platforms can generate broader interest in your project and give your firm greater exposure to a larger audience.
Use video to demonstrate special features
Using video, you can also highlight – and even demonstrate – important features of your project. For example, let’s say you your new project has a special daylighting system that adjusts windows and blinds to maximize the amount of natural light in the space. You can shoot a 30-second time-lapse video to show the movement of light within the space and how it changes throughout the day. This gives viewers a sense of what it’s like to visit and can encourage them to experience it first hand.
Hold a “virtual” media tour event via live streaming
Your favorite editor can’t make it to your live event? Then bring your live event to her! Using live-streaming apps like Periscope, you can share your media tours and grand openings with a wide online audience. Periscope blossomed from an idea that there is no better way to virtually experience a place in real-time than through live video. The best part is, you can download the app to your smart phone and carry it around with you during your event to share the experience of your new space with your viewers. Your viewers get to see what you want to show them, hear your thoughts about the design process and share in the live event; it’s as if they are there in person with you for a private tour.
While nothing will ever match what it’s like to inhabit a space first hand, experiencing architecture is no longer limited to visiting it in person. Because of new technologies, we can share and experience buildings, landscapes, and open spaces with anyone who can connect to the Internet from the comfort of their laptop or mobile device. So what are you waiting for? Get filming!
Photography is an essential marketing tool for architects, but too many firms fall short on photographically documenting their buildings. Architectural photography has the ability to show a building “in action” — demonstrating how people use and live in it, showing off programmatic elements and telling the building’s story. But you should take care that the images you show to prospective clients, as well as those you post on your website and share on social media, communicate both your project’s success and your strengths as an architect.
Many of your prospective clients may never visit your projects in person, and they may never see your space alive, filled with human interaction, and performing as programmed. Nor will they experience the sensibility of the space: the sculptural height of a room, the carefully conceived wash of light against plaster, steel, or stone. They may not witness firsthand the painstaking detail of a stair. Words can describe, and your enthusiasm can excite, but it’s excellent photography that will truly help you tell the story of your project — and thus create more opportunities for your firm.
The success of your practice lies in the photographer’s ability to translate your architectural craft into vivid images that reflect your aspirations and bring your vision to life. You are paying for a photographer’s experience to interpret the geometry of a space, to combine proper equipment and post-production savvy to get that final, sublime still image. The art of a good architectural photographer lies in her translation of how the eye reads the lightness and shadow, foreground and background and the sensual detail of texture. Although the iPhone takes great photos, you would be selling your work short by relying on snapshots for project documentation. So there is real value in hiring the right photographer to document your work.
Take a moment to review the photographs you are using to represent your work. Look at them as if you are seeing your projects for the first – or only – time, solely based on these images. Are they strong, vibrant, as-if-you-were-there images? Or are they too dark, blurry, or have an off-color cast? Furthermore, do these images show the technical beauty of your space or building, yet fail to capture the human side of what happens there, leaving images that read cold and lifeless, devoid of people and activity?
For me, what makes architectural photography really special is its potential to narrate a building’s story. Architecture has the capacity to affect society: to create better, more livable places and, thus, to improve lives. The challenge for the photographer is to reveal the building’s functionality and the social interactions of its users in a way that’s authentic and spatial. A good architectural photographer is not only a master technician, but also an excellent storyteller: she combines aesthetics with a journalistic eye so that captions are unnecessary.
When I shoot, I seek out spaces and places where people congregate, live, and work. To best capture the social side of the building, I try to inhabit the space for a while and watch the building function. From there, the challenge (and fun) is to capture a moment in the building’s life that represents how it looks every day, and to represent — to an individual who may never experience the project first-hand — how the architect and client envisioned it to function.
Hiring a photographer is how you close out a project. The space has been realized, the fees received and the creative energy of the architect is leaning towards the next project. In some cases, you may never step back into the spaces that you’ve designed. Your future work depends on how your past projects market your architectural skill. So before you leave your space finished, hire a talented photographer who can accurately document your work, the energy with which you have imbued it and your vision that created it.
Aislinn Weidele is the Director of Creative Services for Hausman LLC and an expert in architectural photography and graphic design. Top image © Aislinn Weidele/Gotham Projects; second image © James Ewing Photography; bottom image © Michael Moran/OTTO
May is National Photography Month, so we are going to explore how you can use professional and snapshot photography to promote your firm and projects on social media.
Using photos and imagery in your social media will boost your company’s virtual presence, promote your projects, and engage your audience. In fact, Tweets with images get 2 times the engagement rate of those without them. The following are a few strategies for using photography to communicate about your work.
Tell a story with your photographs. Social media platforms allow you to take your audiences – clients, colleagues, potential clients, fans – on a story-telling journey. Your followers want to see snapshots of your projects at every stage, from design concept through completion. Showing them your process through photos is a great way to show them your personality as a designer, what your office culture is like, who your employees are, and so on. Tell them a story with the photographs that you upload on social media channels like Instagram and Twitter. For example, you can choose a collection of project photos that represent your firm’s signature style and post them as #signatureproject. Or you could choose a different photo every day of projects, people, and places that tell a story about your firm and its work as #photooftheday. Whatever you post, choose photos that tell a story and share them!
Build your virtual portfolio. You probably already have a portfolio of your projects on your website. But you can also use platforms like Pinterest or Instagram to create a virtual project portfolio on social media and use it as an active way to engage your audiences. For example, you can create a Pinterest board to show off all of your projects in one typology such as healthcare or cultural buildings. In fact, the more boards you create the more opportunities you create for other users to pin your photos to their boards. Showcase your projects, from renderings to final photography. Optimize all the images that you upload and remember to link back to your website.
Take control of your firm’s existing presence on platforms like Pinterest, where users may already be pinning images of your projects. Photos of your projects may already exist on other people’s Pinterest boards. Take control of those images by re-pining to your board and expand your audience by following other users who admire your work. This will not only increase your exposure but it will also build your network.
You can also create a virtual gallery on Twitter. You can tweet links to your gallery and use it as yet another way to engage your audience and promote your projects.
Show the evolution of a project. You do not have to wait until the completion of a project to promote it. The power of social media, specifically Instagram, allows you to keep the conversation going, from planning to completion. Instagram is a good platform that delivers informal snapshots to your audience and gives them the opportunity to follow, share, and comment as a project progresses. Use Instagram to take your audience through the journey of your project and capture moments throughout the life of the project to tell a story. Choose a project in the beginning stages of design and show it’s progress by posting photos as the project progresses from concept to construction through opening day. Your audience wants to see photos of behind-the-scenes (you could use a hashtag like #bts), events, and people. Always remember that it’s important to use hashtags because they allow your tweets to trend on other users Twitter feeds, sparking new conversations and re-tweets.
So, whether it’s an informal snapshot of your team hard at work on your next design or a professional photo of a completed building, remember that using photography on social media has huge potential to engage and grow your audience.
“Can you fix my backyard?“
If you’re a landscape architect, you’ve had to listen to this question a hundred times. Your friends think your job is to prune their roses and mow their lawn. You may also hear, “Oh, you live in New York? There can’t be much work for landscape architects there.” In reality, major urban centers attract landscape architects in droves. Or, “Frederick Law who? You mean Central Park did not spring fully formed into existence?”
What steps, then, can a modest landscape architect take to educate the world about the role she is playing in the community’s quality of life and physical well-being and promote her work, all at the same time? How can she shed light on her widely misunderstood profession, in the process positioning herself as a thought-leader (without coming across as an egomaniacal self-promoter)?
How would she explain that landscape architects design anything under the sky – or even, in the case of New York’s planned Lowline park — under the ground? That plants are not a requirement of a design? That landscape architects remove toxins from rainwater, sequester carbon dioxide, prevent floods, alleviate drought, create shade, produce food?
She could start by checking out the tips in our previous blog posts. If, like many gifted designers, she is more visual than verbal, she doesn’t have to reinvent the wheelbarrow. The ASLA’s Public Awareness page is chock-full of beautifully designed, clearly written materials prepared by journalists, marketers, PR professionals, and landscape architects. You’ll find fliers and buttons, posters and video, even certificates of appreciation. You’ll find “Designed by a Landscape Architect” signs to install in your local spaces, and guidance on how to organize a landscape rededication ceremony. Get involved with your local ASLA chapter.
In her own community, she can visit schools, and involve kids in designing playgrounds or urban agriculture. She can join her community board, or give talks at her church, garden club, or design week event. She can contribute op-eds on a topic in the news, such as her city’s flood prevention strategy; write letters to the editor. Participate in Parklet Day by creating a pop-up park in a vacant parking space. Donate her skills: organize an Earth Day tree planting or pruning, or a screening of Frederick Law Olmsted: Landscape Architect in April (Landscape Architecture Month). Sketch with a group of friends in a public place. Strangers will want to know what you’re up to.
The possibilities are endless, so use your imagination and grow some of your own. The better the profession is understood, the better it is for your business, the community, the planet.
April is Landscape Architecture Month, and the profession is in the spotlight. What can landscape architects do this Spring and throughout the year to get the attention of the media?
Landscapes take a long time to design and a long time to grow. Unless you’re Michael Van Valkenburgh, you probably don’t have a ribbon cutting every month. What can you do in between major milestones to stay in the news?
You don’t have to start a project campaign from scratch. If you’re working with an architect or engineer, then piggyback on their PR efforts. Engage with all members of your project’s design team to collaborate on press releases, award submissions, and project updates on participating firms’ websites and social media.
If your client is the owner or owner’s rep, suggest the same sort of collaboration to promote your project. This can be a sensitive area, so it may be helpful to set down the PR terms in the contract. If your side of the project is getting surprise media coverage, give your collaborators a chance to share the glory. Your generosity will strengthen your professional relationships with other team members.
But what if you’re on your own? Here are some specific ways to raise your visibility in the landscape design press and beyond:
Watch for trends and jump on the bandwagon. Three instances constitute a trend. For instance, a survey conducted by the ASLA revealed that sustainable, low maintenance designs are rated the most desirable. If you have any such projects in your portfolio, use the survey as the news hook to spread the word.
Grow your presence on social media. It’s not going away, and it’s not that hard. You may not land a project through a Tweet, but Twitter is where news breaks today. It’s where the journalists are. Pinterest is a great showcase for your residential work.
Connect your project with current events. Hillary Clinton’s announcement to run for president may not, on the surface, have much to do with placemaking – until you read this elegant commentary in ARCHITECT.
Become an expert for local news sources. Is there a flood or a drought in your town? Journalists will be looking for quotes from an expert on stormwater management or xeric landscapes. Make sure you’re their contacts list.
Create your own newsworthy event. Curate an exhibition on landscapes or design at the local library or gallery. Organize a fundraiser for an earth-friendly charity. Do a pro-bono project for a school, center of worship, or charitable organization.
Don’t forget to use the resources of the ASLA and its amazing team of public relations professionals who, like you, are out to promote the profession. If you’re not a member, join. Call and introduce yourself. Ask for advice. Ask if they have a media list they could share with you. Are they working on a pitch that your firm could contribute to?
Above all, if you’re getting coverage, don’t sit back and bask: mine it! News begets news. Email links to other journalists, clients, would-be clients, colleagues. Send newsletters. Update your website. Post to social media. Shine your light!
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!
When you give reporters what they need, you get more and better media coverage.
It sounds simple. But we become so focused on what we want from the media that we sometimes forget to consider their needs. If you help them do their job, yours will be easier, too.
You can’t cater to every request. Reporters often want access to information they cannot have.
What they need is a good story.
Every day, sometimes every hour, journalists must “feed the beast.” It could be a magazine article, a news story, a blog post or a tweet. They are forever filling an empty space.
Here are five ways you can help journalists cover your organization.
Be a Source. Reports rely on sources for several aspect of their job. A source can be someone who keeps journalists informed of the latest developments on the topic they cover. A source can also be someone who offers background information, or shows a reporter where to find it. Or, a source can be a subject matter expert they call upon to provide analysis and commentary for their stories.
Offer News Tips. There is a difference between a news tip and a pitch. It comes down to intent and delivery. If the information is valuable and its publication would be mutually beneficial, you are providing a news tip. If you push a self-serving story that is of no use to a journalist, it shows a lack of concern or respect. As an analogy, a professional sales person helps customers make wise choices. And then there are the cold callers. Don’t be a PR telemarketer.
Provide Quotes. Every news story needs quotes. They are hard to get. A reporter has to find someone with something to say and then convince that person to speak on the record. Quotes are statements that journalists hear with their ears, in person or over the phone. Or, in some cases, quotes can be taken from a digital conversation. Press release quotes don’t count; journalists have no easy way to verify that the person quoted actually said that. Let your people talk.
Share Your Data. Reporters always need facts to back up stories. Data-driven journalism is on the rise. Data you gather on industry trends, for example, could be repurposed for media consumption. Not everything is a trade secret. Sometimes, it is worth more to share information than to hoard it. Being the source of valuable data, builds your influence as an industry leader.
Facilitate News Gathering. Facilitators are the people who help reporters get all of the above. They come in many forms: the mayor’s press secretary, a friendly courthouse clerk, a CEO’s administrative assistant, a political operative or a corporate communicator. You can be that person.
Don’t be a palace guard, but don’t become a concierge either. Your relationship with journalists should be a strategic alliance: mutually beneficial, sometimes guarded, and always professional.
To borrow from the Rolling Stones, you can’t give reporters everything they want. But if you try, you can give them what they need.
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.