Brand Guidelines 2.0

1.0 Who we are

Our core values

1. Design is our passion and our purpose.

2. Our work is collaborative; everyone plays an important part in its creation.

3. We start with sustainability: Our humanity is intrinsically linked to our place in the world.

4. We all share a responsibility to our clients, our teams, and our work.

5. We are curious and foster an atmosphere of continuous learning.

6. We celebrate the uniqueness of each individual: Our diversity is our strength.

7. We are all ambassadors of our projects, stories, and knowledge.

8. We go above and beyond for each other, our clients, and our communities.

9. We treat everyone with respect, dignity, and humanity.

10. We inspire each other to make the world better.

What is a brand?

One of Perkins Eastman’s most valuable assets is our brand. Through visual and verbal cues, it captures what we stand for and why. Our logo, colors, fonts, and images are among the tools we use to paint a picture of our people and our firm. Our philosophy and tone express our essence through what we say and how we say it. The more consistent we are, the stronger our brand is and will continue to be.

Every day in our studios around the world we communicate about Perkins Eastman whether we realize it or not. How we answer the phone, what we say in an interview, how we address a client in an email, how we present at a conference, how we interact with our colleagues. Taken together, these touchpoints communicate who we are.

We should always be ready to answer the following questions:

a. What kind of firm are we?

b. Why choose Perkins Eastman?

c. Why are we the best?

In a global firm like ours, no single message is right for everyone. Each communication needs to be tailored and adapted to suit the specific circumstances. Yet we need a common language to describe Perkins Eastman.

This playbook falls into several parts: Who we are, how we look, how we sound, and how we create engaging, effective communications. You’ll see that we have lots of brand identity components, allowing us to be flexible around whom we are trying to connect with. If you have any questions, comments, or stories to share, feel free to reach out to the Marketing and Communications teams.

Our brand idea

Human by Design. We design for people. We design to enhance the human experience and leave a lasting and positive impact on people’s lives and the world we inhabit. It starts and ends with the human being; if everything is design, everything we do is Human by Design.

Design can have a direct, positive impact on people’s lives. We design places and spaces that center the user by employing best practices, sustainability, and a thorough understanding of our clients’ missions and operations.

Be Creative. We believe that design is both art and science analysis combined with ingenuity. We uncover truly creative and sustainable solutions when we question assumptions and challenge the status quo, building spaces where innovation meets imagination.

User at the heart. We are driven by the belief that the only good solution is one that caters to people who will use the spaces and places we design. Our design process is built around understanding, meeting, and exceeding their expectations creatively and sustainably. Over the course of our firm’s history, we have developed complementary practice areas to ensure that we achieve design excellence in spaces where people live, work, play, learn, age, and heal. Our design solutions for these spaces are backed by research to make certain we are truly understanding and meeting the needs of those who will use them.

Global platform. Our practice is global; our work is local. Our size and diversity is our strength we collaborate seamlessly across borders, barriers, and disciplines to connect people and ideas. Our depth and breadth of expertise and geographic reach means we have the ability to take on the most complex of projects, whenever and wherever needed, to provide the ultimate level of client service, all managed under one roof. We are citizens of the world.

Work as one. The best and boldest work comes through true partnership with our clients. Sometimes that means challenging ourselves; sometimes it requires challenging them. It always means building trusted relationships that stand the test of time. As Perkins Eastman has grown, we have taken great care to ensure that clients continue to get a personal level of service from our firm’s leadership. The team we propose for a client’s project will remain with them through the life of the project. Our co-founders built this business on relationships. Forty years later, excellent service and repeat clients are still key to our success.

A better future. We design for a sustainable and resilient future. The bond between humans and nature is unbreakable, and we have an inherent responsibility to enhance the health and well-being of our people, our communities, and our planet. Embracing the patterns of nature, we strive to work within this framework to uncover the possibilities of design. We push boundaries of thought and design to ensure our clients get cutting-edge work. Good design is innovative. It allows us to do more with less while optimizing the benefits people achieve in the spaces we design. Process does not supersede people. We explore different perspectives and encourage different voices to develop the most successful design solution. We conduct internal design competitions to keep our ideas fresh and our people energized.

Delivery by design. Taking our work from concept to reality lies at the heart of our practice there’s no greater reward than implementing a big idea. We deliver design solutions with care and craft, and always of the highest quality. We strive to deliver sustainably and imaginatively. But we deliver no matter what it takes.

Our Perkins Eastman. We are a diverse and complementary collection of thinkers, dreamers, and doers. We challenge ourselves, stretching each other and pushing boundaries together to create a collaborative organization that lives, evolves, and belongs to us all.

Our brand idea describes, in three words, what we stand for as a firm. It is at the heart of our organization and should drive everything we do and say.

2.0 Brand elements

Our colors

The primary brand palette consists of black, white, and PE Orange. These are the only colors in which the logo may be reproduced. The secondary palette is used for accents and background colors to be used in conjunction with the primary palette. Do not use multiple secondary colors in direct proximity. A range of grays can be used to create hierarchy. Color tints may be utilized, primarily for the purpose of creating charts and infographics.

Our logo

The Perkins Eastman wordmark (a logo that is primarily text) was carefully crafted to reflect both the firm’s bold and assertive position in the global marketplace and the human focus that ultimately drives design. This typographic identity created from bespoke letterforms is a strong and recognizable asset for the firm. The primary configuration should be used for most official collateral, proposals, presentations, and stationery.

Primary Wordmark

Minimum print size: .625” wide

Minimum web size: 135 pixels wide

PE_Wordmark_01_Orange

PE_Wordmark_01_Black

PE_Wordmark_01_White

Secondary Wordmarks

The line connecting the wordmark creates a whole that builds upon the vision of two individuals, establishing a firm identity that looks to the future and adapts with it. As such, the wordmark itself can adapt and flex to better suit select applications. Here are two secondary configurations.

Minimum print size: .625” wide

Minimum web size: 135 pixels wide

Minimum print size: .075” high

Minimum web size: 18 pixels high

PE_Wordmark_03_Black

PE_Wordmark_02_Black

PE_Wordmark_03_Orange

PE_Wordmark_02_Orange

PE_Wordmark_03_White

PE_Wordmark_02_White

Our brand idea

“Human by Design” has always been at the core of Perkins Eastman, and we are bringing that message front and center. Human by Design (HBD) is ideally styled as a signature. This hand-drawn tagline should not be altered in any way unless approved by a member of the graphic design team for a specific use.

The

PE_HBD_01_Blue

Minimum print size: 1.25” wide

Minimum web size: 200 pixels wide

PE_HBD_01_Green

PE_HBD_01_Orange

PE_HBD_01_Black

PE_HBD_01_Purple

PE_HBD_01_White

PE_HBD_01_Yellow

Human by Design script may be reproduced in any of the primary or secondary colors

The Lock-up

The Lock-up combines the wordmark with the Human by Design brand idea. The black or white wordmarks may be used with any color HBD, but only pair the PE Orange logo with a black or white HBD.

Minimum print size: 1.25” wide

Minimum

PE_Lockup_01_Positive

PE_Lockup_01_Negative

PE_Lockup_01_Positive_on Orange

Do not attempt to alter the relationships within the established lock-ups unless authorized to do so. For special cases, the graphic design team may create a unique composition.

Our logo in action

The wordmark requires ample space around it to ensure clarity, legibility, and balance. The diagram below shows the minimum amount of space that should surround the wordmark.

Wherever possible, use the orange version of our wordmark on white. The wordmark should only ever be reproduced in our primary colors: black, white, and PE orange.

If used on a photo, the wordmark must be positioned in a clear area to be legible.

Logo crimes

Preserve the integrity of the wordmark and the brand idea by maintaining consistency across media. Avoid the following mistakes.

DO NOT:

Substitute with any other fonts. The Perkins Eastman wordmark is custom-made and not replicable by a font.

DO NOT:

Create an unapproved wordmark configuration

DO NOT:

Reproduce the wordmark in an unapproved color

DO NOT:

Substitute with any other fonts. The HBD brand idea is hand-drawn and not duplicable by a font.

DO NOT:

Stretch or compress the script

DO NOT:

Place imagery in the wordmark

DO NOT:

Place wordmark on an angle

DO NOT:

Create an unapproved configuration

DO NOT:

Place the script on an angle

DO NOT:

Place wordmark on a background that compromises its legibility

DO NOT:

Alter the scale within the mark

DO NOT:

Try to replicate the HBD script for any other elements.

Typography standards

Our primary font is Franklin Gothic. The weights we use are Book, Medium, and Demi Condensed. Franklin Gothic Demi is part of the family but is reserved for attention-grabbing headlines. Body copy should always be set in Franklin Gothic Book. We use upper and lower case to ensure legibility. ALL CAPS should be used sparingly. Only use the approved version of fonts on the system to ensure consistency across all materials.

Franklin Gothic is a timeless addition to every font collection, and its applications are innumerable. The design is clean and easily legible. Its weight strikes a balanced harmony, making it perfect for both serious and lighthearted content, and everything in between. You’ve likely seen the Franklin Gothic typeface a thousand times without even realizing it. From advertising logos and billboards, television and movie screens, books and album covers, board games and computer games, this timeless typeface is everywhere.

Morris Fuller Benton created the original version of Franklin Gothic in 1902 at American Type Founders (ATF), where he served as chief typeface designer and head of the design department. Benton named this particular font as an homage to Benjamin Franklin, who was a typesetter himself. The term “gothic” is primarily used to characterize a font as a classic period design.

More than a century after its creation, the Franklin Gothic font is still featured in a multitude of prominent displays and noteworthy media. Time magazine uses it for its headlines and article titles, The New York Times uses it in a variety of section headlines, and Scrabble uses the font on the letter tiles. In film, Franklin Gothic Heavy added adrenaline to the title of the film, Rocky and Franklin Gothic Condensed made the subtitles in the Star Wars movies easy to read. Franklin Gothic has also left a lasting impact in many company logos, including those for Showtime and Bank of America.

Source: You Work for Them

FRANKLIN GOTHIC MEDIUM

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

1234567890 /?!"#$%&& () *+,:;.

The quick brown fox jumps over a lazy dog.

FRANKLIN GOTHIC BOOK

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

1234567890 /?!"#$%&& () *+,:;.

The quick brown fox jumps over a lazy dog.

FRANKLIN GOTHIC DEMI COND

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

1234567890 /?!"#$%&& () *+,:;.

The quick brown fox jumps over a lazy dog.

In digital applications when Franklin Gothic is unavailable, Arial may be used as a replacement. Use Arial Black in place of Franklin Gothic Demi Cond, Arial Bold for Franklin Gothic Medium, and Arial Regular for Franklin Gothic Book. The use of Montserrat is reserved for the Perkins Eastman website.

01_Page Header

Franklin Gothic Medium size: 30 pt leading: 28 pt

02_Quotes

Franklin Gothic Book size: 15 pt leading: 21 pt .125” space before + after

I am a Page Header. Use me to start a section.

Typography Example

I am an introductory paragraph or interesting quote. Use me to highlight the important point you are making or a great client quote.

Human by Design

03_Text Heading

Franklin Gothic Medium size: 14 pt leading: 14 pt .0625” space before + after

04_SUBHEAD A

Franklin Gothic Medium size: 12 pt leading: 14 pt ALL CAPS, .0625” space after

I am a Text Heading. Use me as a title to break out a section of text.

05_Subhead B

Franklin Gothic Medium size: 11 pt leading: 14 pt

I AM A SUBHEAD. USE ME WHEN YOU NEED TO FURTHER BREAK DOWN A SECTION.

06_Body Text

Franklin Gothic Book size: 10 pt leading: 14 pt .125” space after

I am another Subhead. Use me to break down a section even more.

I am your body text. All of your paragraphs of text should look like me. I am easy to read and should be used when you have a lot of text. Font sizes and spacing have been chosen to improve legibility and readability. Do not adjust the sizing, leading, or tracking of these styles.

Creative solutions built around the needs of people. We are thinkers, dreamers, and doers. We challenge ourselves, stretching each other and pushing boundaries together to create a collaborative organization that lives, evolves, and belongs to us all.

We design for people. We design to enhance the human experience and leave a lasting and positive impact on people’s lives and the world we inhabit. It starts and ends with the human being; if everything is design, everything we do is Human by Design.

We believe design is both art and science, analysis combined with ingenuity. Truly creative and sustainable solutions are found when we question assumptions and challenge the status quo, building in the spaces where innovation meets the imagination.

Our practice is global; our work local. And so our size and diversity is our strength we collaborate seamlessly across borders, barriers, and disciplines to connect people and ideas. By listening well and building consensus, we deliver design solutions that exceed expectations.

The best and boldest work comes through true partnership with our clients as we collaborate to achieve their goals. Sometimes that means challenging ourselves, sometimes it requires challenging them. It always means building trusted relationships that stand the test of time.

We design for a sustainable and resilient future. The bond between humans and nature is unbreakable, and we have an inherent responsibility to enhance the health and wellbeing of our people, our communities, and our planet. Embracing the patterns of nature, we strive to uncover the possibilities of design.

Taking our work from concept to reality lies at the heart of our practice there’s no greater reward than implementing a big idea. We deliver design solutions, always of the highest quality, with care and craft. We strive to deliver sustainability imaginatively. Whatever it takes, we deliver.

We are a diverse and complementary collection of thinkers, dreamers, and doers. We challenge ourselves, stretching each other and pushing boundaries together to create a collaborative organization an organism that lives, evolves, and belongs to us all.

3 Perkins Eastman

Companion typography

Handwritten type, like Turbinado, is the antithesis of a corporate style, so it is a great contrast to Franklin Gothic. Use this style when you want to show the human hand at work or for a softer, more personcentered approach.

A script font should be treated as a graphic element and extremely limited in use. Scripts should not be used to try to replicate the Human by Design handwriting. Please consult with the graphic design team before using.

TURBINADO PRO REGULAR Script Font

A serif font — like Baskerville — makes a great companion to Franklin Gothic. Use Baskerville when you want to provide an appealing contrast and add a touch of sophistication.

Baskerville is reserved for the Marketing and Communications teams to use with materials such as The Narrative. Please consult with the graphic design team before using.

Photographic style

People are at the heart of Human by Design. Our design story begins with people. Capturing how people interact with the spaces we design plays a pivotal role in our brand identity.

A successful architectural photo shoot should tell the whole design story, though each individual photograph should also stand alone as a strong representation of the space. When possible, our photography is to be inclusive and inherently diverse in race, culture, gender, age, size, abilities, and socioeconomic status. Whether it’s a space for living, working, learning, playing, aging, or healing, photography of these spaces should reflect the diverse communities they serve. The overall narrative of any photo should always come back to the people.

The narrative continues with how we choose to use, pair, and exhibit the final photographs for getting the most impact. Take a step back and consider your message. Choose the strongest image for a project to be front and center. Secondary images will be smaller groupings near supporting text. When given a choice, always use images with people to reflect the Human by Design ethos. Lastly, when appropriate, take the opportunity to show the people behind the work who make Perkins Eastman what it is.

Things to keep in mind:

• Respect the judgment of the photographer and designers and make as few changes as possible limit cropping and never stretch or squeeze an image to fit.

• If additional retouching is needed, please reach out to the photography team.

• Photography can be used in color, black and white or duotone color being the preferred choice for our brand guidelines. If using duotone, ensure that there is sufficient contrast for the details of the photos.

• Stock photography may be utilized for supporting imagery editorial shots of people but not architecture.

• Stock image selections should be reviewed with a graphic designer to make sure they adhere to our brand standards.

• Stock photography must be obtained from an approved source. Contact a graphic designer if you need supporting imagery.

• Do not “Google” images and download from the Internet. We must obtain legal rights to any images we use in our materials.

If you have further questions, please reach out to our photography manager, Sarah Mechling

Graphic devices

We have included some suggested graphic elements to help tell our brand story. Don’t go overboard and use all of them at once less is more. When bringing elements together, ensure your design is simple, allows the text to breathe, and keeps different styles to a minimum.

The Dash

The rule connecting the wordmark, referred to here as “the dash,” builds upon the vision and history of Brad Perkins and Mary-Jean Eastman. It establishes our firm identity, but it also speaks to the growth and flexibility of the firm. The dash allows the wordmark itself to adapt to our needs.

For most uses, the dash should match the proportion of how it’s used in the wordmark. The proportion for standard use is 1 to 0.087 (When the dash is 1” wide, it should be 0.087” high. When the dash is 0.5” wide, it should be 0.043” high, etc.)

The Dash

The dash can also be flexible and grow when needed for emphasis.

Hand Sketches

Sketches are an effective to way to communicate that Human by Design also includes our designers. The use of hand-drawn sketches is an opportunity to display the process of design while helping echo our brand.

Watercolor

The textures and variations in these watercolor elements emphasize the work of the human hand and nod to the artistry of design. Use the watercolor elements when you want to soften your design or highlight the artistry of the work.

Geometric Patterns

Patterns can bring our color palette to life and add subtle texture to our designs. People instinctively gravitate to these visually interesting images. Use patterns inspired by the geometry in architecture and the biomorphic forms of nature.

a wide range of scales, this study purposefully considered each attribute identified in the literature and its applicability to three builtenvironment scales: city, building, and interior. If an attribute was exclusive to one scale and not others, it was not synthesized into our list.

Along with the twelve attributes listed herein, this report introduces Culture and Equity as two overarching concepts related to successful placemaking. Due to their importance and complexity, we argue they transcend the attributes and are lenses through which the attributes should be viewed. For example, an architect, planner, or designer considering the Captivating attribute may choose to use color to entice people’s senses and imagination. Viewed through the lens of Culture, however, one would need to consider the cultural associations each color might have and how it may contribute to the meaning and experience being created in

that place. Similarly, applying the lens of Equity may drive an architect, planner, or designer to eliminate certain colors as they may be difficult for certain populations such as older adults or those with color blindness to discern.

A third lens was also considered Holistic Sustainability. But due to its undeniable importance and multi-faceted nature, we felt it should inform every aspect and attribute of design, so we opted not to imply that it’s optional by labeling it as its own lens in this report.

Inspired by the checklists and exercises devised by PPS and Gehl Architects, we aimed to make our twelve placemaking attributes easily accessible and usable. To do so, these attributes have been organized into Place Attribute Cards (see next section), that can be used at different stages of a project to inspire conversation on any new, renovated, or repurposed environments.

Place exists at different scales. At one extreme a favorite armchair is a place, at the other extreme the whole earth.79

In a post-COVID world, United Methodist Communities’ small house memory support village, The Enclave, is on target to support best practice of infection control. These small homes provide an environment that promotes safety for those living and working there.

LARRY CARLSON, PRESIDENT AND CEO UNITED METHODIST COMMUNITIES

5

Icons

We use three distinct styles of icons to help tell our stories. Each style has an appropriate use. Select one style and be consistent within your document — don’t mix and match. Icons are available through the graphic design team.

Branding is the art of aligning what you want people to think about your company with what people actually do think about your company. And vice-versa.

JAY BAER

marketing and customer-service expert, speaker, and author

3.0 Inspiration+ Application

Corporate messaging

Our firm is now utilizing digital business cards provided through Haystack. Please visit Orchard to view our full business card policy, list of approved titles, and instructions for activating your digital business card.

Stationery encompasses every bit of paper that a company uses in communicating with its customers and associates — letterhead, envelopes, invoices, shipping labels, and business cards. To be sure we make the best impression and keep our brand consistent, every piece of communication that leaves our office should use the most current templates. Firstname

Our official email signature is text only using the fonts and sizes noted below. No outside firm logos should be added to your signature. During certain events, we may allow special Perkins Eastman signatures. This information will be sent via a firmwide email. Otherwise, do not alter your email signature.

Click to save my contact details

Marketing proposals

Start your project with the most current template. Proposal templates are available on the M drive:

M:\Enterprise_Stds\Graphics\Templates\Proposal

Marketing brochures

Work with a graphic designer to develop a custom brochure for your practice area or pursuit.

Marketing presentations

Always start your presentation with the current template built into PowerPoint. For tips on preparing an effective presentation, see the Marketing category on PERKS.

Website

A website is often the first impression of a firm, and its visual appeal is the main driver of that impression. Our website gives us the space to further represent our brand, engage our clients, and illustrate Human by Design.

Keeping that first impression in mind, it is important that the content follows Perkins Eastman’s brand standards. The Communications team is in charge of keeping the website up-to-date and handling all website requests. To make a request, email websitechanges@perkinseastman.com.

Additional fonts and graphic elements used on the website have been carefully chosen to complement Franklin Gothic and our graphic standards. When creating website graphics, we want to highlight the process of design and tell the Human by Design story for our projects.

Social media

Social media posts are handled by the Social Media Coordinator on the Communications team and/ or the Instagram Ambassadors. Please contact the Communications team for the full social media guidelines including image sizes and templates.

The following is a general guideline for image sizes:

• Facebook: 1200px x 630px

• LinkedIn: 1200px x 627px

• Instagram: 1080px x 1080px

Email campaigns

The firm has several templates available in Constant Contact for e-blasts. Marketing and Communications staff can use ConstantContact to create new emails using the provided templates. Please contact Marketing and/or Communications if you would like to prepare an external email or an all-staff email.

Swag

Perkins Eastman makes printed collateral, branded clothing, and premiums available to our studios. Materials available to order can be viewed on our storefronts at WBMason and Land’s End. If you are interested in ordering a custom item, reach out to Kim Rader in Marketing.

4.0 Writing for the brand

House style

Typos, errors, and inconsistencies in editorial or typographic style can undermine our reputation as a leading design firm. We use the guidance of the well-respected Chicago Manual of Style to guide our print and online content, highlights from which are listed at right . If you still have questions, please consult Senior Communications Writer Jennife r Sergent .

Typographic Style

Good typographic design requires close attention to detail. Consistent typographic style alignment, spacing, case, and indentation enhances legibility.

• All text should be set flush left, ragged right, never justified. Justified text causes rivers. (A river is a noticeable crack or line that runs through a paragraph.)

• Paragraphs are separated by .125″ space after the paragraph, not extra returns.

• New paragraphs should never be indented.

• Always use single spaces between sentences.

• Headings should always be set in upper and lower case. All caps may be used in subheadings.

• When using bullet points, use circles in black or gray.

• Keep the hyphenation of words in a line break to a minimum or turn off entirely. Never allow two hyphenated word breaks in a row.

• Avoid widows, orphans, and runts. (A widow occurs when the last line of a paragraph sits at the top of the next page by itself. An orphan is when the first line of a paragraph sits at the bottom of a page by itself. A runt occurs when the last line of a paragraph is a single word.

• Always use real, “curly” apostrophes and quotation marks. Prime marks should be used for foot and inch.

• Never condense or expand fonts to force copy to fit.

Edit your copy instead.

• The shorter en dash (–) is used to mark ranges with the meaning “to” in phrases like “115–120.” The longer em dash (—) is used to separate extra information or mark a break in a sentence. Hyphens (-) are used to combine words (long-term). A hyphen should not be used in place of a dash.

• An ellipsis indicates an omission. The ellipsis is not three periods, but a special character. When the omitted words are within a sentence, precede and follow the ellipsis with a space.

• A soft return (shift+enter) allows you to start a new line without starting a new paragraph.

Editorial Style

Even more important than quality typography is correct and consistent editorial style. For any questions, refer to the Chicago Manual of Style or reach out to the Communications team.

• Always spell out Perkins Eastman for external communications. Never abbreviate the name as PE.

• Don’t break lines between Perkins and Eastman. Always keep together.

• Use “sf” for square feet. Use “sm” for square meters.

• Numbers more than 999 should use commas (2,500 sf).

• Spell out whole numbers from zero through ten.

• Millions are represented as $17M or 12M sf.

• Italicize publication names and periodical titles: The New York Times.

• Don’t use ampersands in text or headings, if possible.

• Avoid using quotation marks around generally accepted terminology.

• Be sure to hyphenate phrases when necessary: long-term, state-of-the-art, one-bedroom unit.

• We use the Oxford comma (a serial comma after the penultimate item in a series with more than two items that occurs before “and”): Boston, Charlotte, Chicago, Pittsburgh, and New York.

• For bulleted lists:

◦ A list of fragments should begin capitalized and have no punctuation at the end.

◦ If the list is a series, use lowercase letters to begin, after each element add semi-colons, add “and” to the penultimate point, and end the final item with a period.

5.0 Affiliates + Specialty Studios

Affiliates + Specialty Studios

Reflecting the enhanced capabilities that are expected of a truly global practice, Perkins Eastman has merged with a number of firms and like-minded organizations to broaden the scope of its services, many of which are offered through our affiliates. We believe a multi-brand firm with a singular set of core beliefs is made all that much stronger and more diverse for it, and better illustrates our full range of talents.

BLT Architects is an integrated architecture and interior design studio. Since its founding in 1961, BLTa has developed into a respected design studio in Philadelphia with expertise in hospitality, education, multi-family residential, and mixed-use projects.

Founded in 1980, BFJ Planning (BFJ) offers professional expertise in planning, zoning, design, environmental analysis, real-estate analysis, and transportation planning. BFJ can bring a project from the initial feasibility stage, through planning and approvals, to detailed design and implementation.

RGR Landscape (RGR), founded in 1995, is a landscape design firm focusing on land planning and design for cultural institutions, public open space in urban settings, parks, recreational facilities, and residential and commercial projects.

Since 1984, Urbanomics has provided publicand private-sector clients with an array of economic development planning studies, market studies, tax-policy analyses, program evaluations, and economic and demographic forecasts.

Frank is a graphic-design studio that specializes in branding, environmental graphics, and design for print and online media. Our clients include landscape architects, developers, engineering firms, hospitals, senior living, higher education, government, non-profits, and cultural organizations.

Kliment Halsband Architects transforms buildings and sites with a measured approach that engages the past and welcomes the future. KHA advocates for sustainability and accessibility for all and values a project’s enduring usefulness, beauty, and adaptability.

Pfeiffer is a multi-office studio of architects, planners and interior designers whose work for cultural and arts institutions, academic libraries, and university campuses marries smart planning with effective client and team engagement for imaginative architectural solutions.

ForrestPerkins provides the highest quality interior design and architectural services to the owners and operators of luxury and landmark hotels and prestigious multi-residential projects throughout North America and internationally.

MEIS, a boutique design studio with offices in Los Angeles and New York, specializes in the design of experience and spectacle. From sports and entertainment venues to urban activation, MEIS creates environments that inspire people to gather and celebrate.

VIA connects communities, transit, and infrastructure through design inspired by finding shared ideas and ideals. The studio approaches each project as building designers, community builders, planners, problem solvers, placemakers, collaborators, facilitators, visionaries, and pragmatists.

6.0 Resources

Resources

Templates are available from within Microsoft Word and Microsoft PowerPoint by clicking on File>New. Templates are also available on the R drive. Project photography and staff photography are available through OpenAsset. If you have any questions about how to use the standard PE resources, please reach out to a graphic designer at _DEPT-Mktg-Graphics@ perkinsea stman.com .

www.perkinseastman.com