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A history of British furniture manufacturers design

Art for all "- William Morris. Circa 1895.

The paradox seems to be the most clarifying the truth! "William Morris was one of the founders of Design for Industry, who hated" (for "catalog of the exhibition Art of the Craftsman" 1975)

The vitality of those responsible for design in Britain today has its roots in the English Arts and Crafts Movement of the late 19th century and sense also shares much of the energy of Art Nouveau. I say this because it was then and is now a clear reaction to the order of the day, expressed in various expression individual artistic. Some have argued that the diversity of Art Nouveau style was so contradictory that led to its demise. That was a short and exciting handmade crafts and pure art in a range of materials through several European countries. The current British movement of those responsible for design seems to be more lasting and perhaps because it is based diversity is a common theme of practical functionality, largely English tradition. One might say an essential conservatism !

The values of the arts and crafts were mainly for purpose, an honest use of materials and a joy of craftsmanship at a time in which the employee was being robbed of their pride in the advent of the machine. Its main exponent of William Morris shouted "We will be the owners of the machines and not its slaves. It could have been an evangelist medieval but not a Luddite! Designer Creator embraces contemporary movement undoubtedly the machine as a vital part of survival economic. This is the method used hand and machine on a scale which is minuscule compared with the mass production that gives the factory work design its character and significance (and can show the way forward.)

The term "design manufacturer" evolved out "of craft design in the late seventies, a period that has been called the British handcrafted furniture Revival (along with other craft disciplines.) The word artisan "was beginning to be devalued in popular culture, with its obvious connotations additional sexist. Unlike pottery, furniture lacked of a philosophical one and was more fragmented. I think many would agree on art furniture is more difficult to establish and maintain at least not by isolation workshops based largely rural.

The disappearance of learning to be replaced by a new generation of furniture makers in post-graduate institutions as the Royal College of Art in the seventies led to a loose group of independent producers who were gathered in an exhibition and through the media developing craft. A handful of trained designers were turning their backs on the prospects for a career in a mass production industry and unimaginative mean to create "home" workshops. David Colowell of "Trannon" was a typical example. Martin Grierson was an industrial designer in the fifties and established his workshop in the mid-seventies with David Field, another graduate RCA. Alan Peters, an important figure, who unfortunately died in 2009 (who made a film documentary about that year) had a different background, and was one of the few direct links with the Arts & Crafts movement have apprentice Edward Barnsley. He then established his workshops in the sixties. The Edward Barnsley Workshop survive today and still offers young people learning through trust.

Once again I call the comparison with the Art Nouveau, whose name derives from a shop in Paris owned by Siegfried Bing in the late nineteenth century. The main catalyst for movement designer maker, in my opinion, was the appearance of Prestcote Gallery in Oxfordshire – a meeting of the country's leading manufacturers handcrafted furniture ranging from Barnsley honor of Sir Edward (in his later years) to Fred Baier a freshman in the RCA with his "Star Wars" furniture. I remember very well because it was privileged to be among this small group of manufacturers. Happening at that time was the formation of the Crafts Council (now Crafts Advisory Committee) as a publicly funded body, your media Crafts magazine and the appearance of the furniture factory John Pacific Fine 'from Chippendale! So in effect all these forces interact and can dismiss the collective catalyst.

Why a glance into the gallery Prestcote? First, it was a private company founded on a passion for furniture by owner Ann Hartree a musician. Some of the funding came from her friend Ann Crossman, from the diaries of her husband Richard Crossman MP. One Hartree felt that Ann was a single enthusiastic ambassador of our profession.

Prestcote appeared briefly in the seventies, attracted both managers and public and suddenly disappeared (like the Art Nouveau!) sad about the breakup of Hartree marriage. But the seeds had been sown. It was a unique and exciting design showcase furniture manufacturers to launch their isolation their skills against each other! Even there were intense debates during the exhibitions initiated by a particular manufacturer verbose – Richard La Trobe Bateman, far from the exhibitions in silence and good appearance today! He was really something exciting was happening and magazines and newspapers kept their feathers on the pulse.

Prestcote I think, in his brief appearance, he impetus to a movement and during the eighties, this small group of furniture makers, perhaps a dozen or twenty strong platform to share the same exposure throughout the country. Peter Collinetta, editor of "The Carpenter" magazine called us "The Gang of 84" and in that particular year was reported in 'World of Interiors magazine "had no fewer than three major exhibitions include furniture (Camden Art Centre, London Cafe and Gallery Information Centre Katherine's house in Marlborough).

1984 was a peak for furniture and perhaps set a marker for the period of transition between Renaissance Art and the current movement but at the end of the Twentieth Century nostalgia tightened its control (perhaps for fear of change inevitable?). It is easy to forget today that most magazines of the nineties was slavishly retro and heritage of the words "and" tradition "were beaten to death. However, during this period a quiet revolution was happening and what began as a handful of workshops in the seventies it became almost an explosion in the last decade more or less.

If magazines like House and Garden "and" dream home "is shying away from modern, and the public was still very ignorant, How did the word get around?

In the late seventies, John Pacific had moved his workshop to Farnborough Barn in Oxfordshire manor house in Dorset, where he created his famous Parnham School for furniture manufacturers. Mix with a little royal blood in the form of student David Linley (eighth in the line of the Throne ") some inevitable media attention, along with some pretty high asking price furniture and furniture making was becoming a recognized feature cultural landscape and an attractive lifestyle choice and second careers of many professionals.

Education is nothing without inspiration and success Parnham also rested on the shoulders of its craftsmen / director Professor Robert Ingham (whose brother George was a familiar face in the gallery Prestcote about a decade earlier). While entrepreneural Pacific and design skills infected Ingham for teaching style had an impact on a new generation of design, it would be for enter the market.

In the seventies and eighties, Rycotewood College in Oxfordshire under the visionary management Chris Simpson, a former RCA graduate, flourished as a major university for those responsible for training design and many of the visiting professors and advisers were leading practitioners in the field. Manufacturers like John Coleman, Jakki Dehn, Ashley Cartwright, Rupert Williamson and Andrew Varah. I taught for over a decade or so.

The crop of new graduates coming out of Parnham College, College Rycotewood and Buckinghamshire in the eighties and nineties formed the backbone of the current movement. This is not to downplay the growing number of independent workshops established by self-taught furniture makers, perhaps glean the tricks of the trade by the specialist (Furniture / wood) and also magazines emerging exposures. Manufacturers such as David Savage, inspired readers of woodworking through his diaries woodworking.

Auction houses began to play his role with Sotheby's taking the lead in the first sale of contemporary craft British in 1980. All furniture sold. I saw my own work came under the hammer, selling to Ghetty Paul Art Collection in Sutton Place in Surrey. It was an occasion unprecedented life artist craftsmen.

But the growth of the furniture manufacturers was not matched by a uniform expansion of outlets for retail – Mainly art galleries. One in particular, held the British flag flying from the mid-eighties is Artizana furniture in Cheshire run by Iraqi-Americans and Ramez Ghazoul Jemila. The celebration of crafts exhibitions organized by Betty Norbury, wife of the renowned sculptor Ian Wood, became a major national event and annual selling exhibition to promote the furniture craftsmen in the early nineties to the mid noughties.

What's in a name? In the large picture of what is now called "The era of convergence and globalization" is inevitably the work of future historians to decide what they call this movement present in British furniture making and design.

In my recent lecture "furniture today" (DVD now available) I have argued the last thirty years has seen a "Golden Age of Furniture Design and Craftsmanship" by which "the best job" in the words of Alan Peters OBE, "is equal if not better than ever before. So let's say it is a working title for the desirability of promoting from within that art curiously is well known from the outside. Even our heir to the throne (the prince of Wales), when sitting in one of my chairs in the eighties, said "I did not realize this kind of thing was happening in Britain.

This sort of thing has been quietly going on in Britain for a long time. Far from the celebrity culture, many manufacturers of pride today and ate almost unkowns the market, even stronger than when I started in 1973 is still a bit esoteric.

William Morris could have wept with art for everyone, but inevitably, they sell to the rich. Have you changed much in the passage of time? However, to speculate about what future historians might say in a hundred years on this movement of the last 30 or 40 years, one thing is not going to say "that was the time that Britain gurgitated his past again. "

About the Author

Jeremy Broun established a furniture workshop in 1973 creating innovative art furniture. He has exhibited in the UK, Australia and the USA and is a seasoned and award winning author and writer. He is a Fellow of the Society of Designer Craftsmen (Founded by William Morris), A Churchill Fellow and a Fellow of the Royal Society of Arts. He is also an accomplished musician performing on guitars that he builds.

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It is presented by the Ziebert Reality Group in conjunction with Tri Star Capital and Related Urban Group.Gypsy Kings Hotel California Lyrics The W Hotel South Beach was designed by architects Yabu Pushelberg and Anna Busta who are known for their award winning designs, and some of the deluxe rooms were designed by Costas Kondylis of Kondylis & Partners. The photography and artwork displayed throughout the rooms and hotel was designed by Grammy nominee Danny Clinch. It was, if not the most sought out South Beach hotel project ever to hit the 33139 zip code, especially towards the end of its pre construction phase.

These W Hotel Miami reviews of the amenities and hotel features should give the reader some deeper insight about this hotel and condo and why the lasts few months my clients have been requesting to book rooms using my W Hotel discount rates. As travel agent I have negotiated premium hotel rates given to me by Starwood for same rooms in the same hotel but my clients pay several hundred dollars less than what the general public pays to stay inside W Hotel Miami. These discount reservations combined with the quality of luxury you will receive is why some of my clients are booking rooms multiple times throughout the year to this condo complex which makes up some of the best waterfront luxury that exists. My contact details will be provided to you if you would like to use my W Hotel discounts in Miami for your future reservations if you wish after you finish these reviews of this beautiful South Beach hotel with greater depths.

Building and construction was complete in 2008. The unique interior and vivid design were built so that every room and condo was angled just right so it could have its very own beach and ocean view with its own private glass balcony. This luxury accommodation is unique because one can book however many nights they want to stay, but the main goal of the W Hotel Miami is to sell every single condo and acquire new residences buyers until it reaches full occupancy. You can expect more buyers, and more residence occupancy, therefore the less hotel rooms will be available for the general public, concluding in the result less W Hotel discounts in Miami.

The room amenities services in South Beach hotel starts with the wonderful multilingual staff who will take care of any of your needs as well as any currency exchange you might need. Daily housekeeping is provided, along with your own W personalized wake-up service which is available upon request. If you have valuables, the W Hotel Miami allows you to store your belongings inside their safety deposit boxes at no extra cost. Cribs are available upon request for parental needs. Full laundry services are provided that the hotel charges to operate. Smoke detectors and fire alarms throughout all floors and every unit to ensure everyone is safe as well as the hotels during the case of an emergency. Pet, wheelchair accessibility, and disability services are all available upon request. Starwood stresses planning services request by giving them enough time and notice before your arrival date so make sure to have your travel agent or the reservations manager working inside the W Hotel Miami adds them to you reservation during or after you have booked your room.
There are 19 stories and about 400 guestrooms, as well as outdoor plunge pools, and 5 bungalows that are each 1350 sq feet along with some penthouses that piece this luxurious piece together. The residencies are made up units that consist of studios that are 600 sq feet, one bedroom suites that range from 800 to 1100 sq feet, and two bedrooms that stands proud with 1200 sq feet.

Once you enter one of these breathtaking hotel rooms, notice the doors are metal studded and the ceilings hover 9 feet tall. It is quite noticeable that all furniture has been custom designed to sure excellence. There is an iron and ironing board as well as full lengths mirrors so there are no excuses not you look your best in the night out in South Beach Miami. The bathrooms have Bliss Spa sinks along with spa-ready showers with full size soaking bath tubs that are prepared for ones relaxation. After showering or soaking in the nice warm bath you can dry of with your own hair drier then slip into your own W Signature Waffle Bath Robes that have terry lining and slippers that the hotel provides. White porcelain ceramic tiles mixed with wood grain finishing make up the floors to ceilings. Opaque & clear acrylics have been slapped onto squares in the living rooms as well. The bedrooms allows one to rejuvenate over night, while falling asleep on the soft, comfortable signature W bed that is made up of 350 thread count and 100% Egyptian cotton sheets. If you are traveling with some friends, request to see if connecting rooms are available before your purchase or notify the hotel so they can update your reservation.

The technology inside the W Hotel in South Beach Miami have accommodations have gadgets that consists two flat screens that come with in-room use of the CD/DVD library as well as the use of movies on demand with cable television. The full service kitchens and kitchenettes allow one to cook up their favorite dish if they decide that want to stay the night in. In-room dining areas come with its own microwave bar, bottled water, and coffee maker. Do not rip open the munchies box or the mini bar just yet unless you going to pay for it like always. The entertainment provided is at its highest degree. Be sure to place your laptop on the work desk so you can plug online using the high speed Internet access but turn off your computer on when you leave because it costs every minute to connect to the Internet. Clock radios along with IPod docking station is provided along with your own cordless phone that gives you access to voice mail.

Now that we have gone over the reviews of the descriptions of all the services the W Hotel Miami provides along with their basic standard amenities they offer in ever unit, this is where the fun begins as we dive further into the reviews of the different types of units and upgraded special features they provide. Let us start with the Wonderful Studio that ranges from 564 to 574 sq feet with its own private glass balcony that offers unparalleled views of Miami Beach. Perfect for couples and just right if one wants some extended luxury to themselves. One of the flat screen televisions can be found on the bedroom wall with one reflecting right below the mirror that has framed lighting feature in front of the crocodile skin headboard. There are automatic drawers that close by themselves which has great effect. The walk-in shower is quite spacious and has cubes that illuminate shine beautifully off of the over sized mirror. The Spectacular Studio ranges from 550 to 574 sq feet and offers an upgrade with an expanded private glass balcony that is located on the high floors of the glorious W Hotel South Beach the offer spectacular of the beach and ocean. At night time the glass offers a reflection of the waters that shine off the reflection of the moon or the beautiful lighting in downtown Miami. There are not too many different features from the Wonderful Studio other than being on higher floors with an extended balcony. The Fabulous Studio is quite spacious and overrides all expectations and thoughts of the typical loft. The full-service kitchenette is equipped with state of the art appliances and has costumed designed Italian cabinets. The features include from the others is that it has an outdoor rain shower. The actual size of the studio is the upgrade itself. When you tie in all the basic features and amenities the W Hotel Miami provides, you realize that this Fabulous Studio is no joke so relax on the arm chair or sprawl out on the sofa because this is oceanfront luxury living at it best.

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Now let us upgrade deeper into the W South Beach Hotel & Residencies luxury suites where we end up in The Fantastic Suite, and it is just like it sounds. Ranging from 635 to 1,129 square feet this one bedroom suite has all the basic and upgraded features we have already listed earlier but the square footage is what is really separating the studios from the one bedroom suites as it keeps getting bigger. The Marvelous Suite is an extra large one bedroom suite that is equipped with two 37” flat screen TVs and one 42″ flat screen TV and signature W King Beds. The units range anywhere from 793 to 917 square feet and contains all the standard amenities and features. Sit in the living room in not one but two arm chairs and enjoy the 42″ flat screen wall mounted plasma TV. Invite your friend and let them wash up and get ready in their own guest bedroom and guest bathroom and if their clothes get dirt let them use the washer and drier because that is what it is there for.

As we dive into the more exotic units of the W Hotel Miami, the Mega Suite also offers ranges from 793 to 971 sq ft offers and extra large studio which makes this thing enormous. Enjoy the outdoor BBQ set up if you decide you want to cook on the balcony. The standard basic amenities of the W Hotel Miami just do not stop as you cram everything up in this Mega Suite. Feel free exercise and sweat with the Swoosh and Swing basketball and tennis courts while you are at it, and then cool down in the plunge pool when you when you are ready to cool down. Brace yourself as we enter the two-bedroom suite on the high floors called the Sanctuary Suite that sits at 1,287 square feet and also offers you own living room and guest bathroom. Now we are really getting somewhere. The full size bathrooms and full size mirrors really reflect the massive size of this South Beach hotel room. The Oasis Suite is another two bedroom suite that offers full oceans views from the bedroom. There are three 42 inch flat screen televisions and media room with a queen size sofa sleeper. Combining all the features the Oasis Suite has to offer we end up with 1,151, square feet of pure luxury. The Cool Corner Suite stands at 1,350 square feet which offers three 42″ flat screens and one 37 inch flat screen with two-bedrooms. This corner suite glistens with full ocean panoramic views that wrap around the balcony which is quite unique from the other units. The WOW Suite is a sophisticated jaw dropping two-bedroom suite masterpiece that ties 1,054 square foot rooms together with all the basic amenities including four flat screen TVs this time. Picture this, one 50 inch, two 42 inch, and one 37 inch TVs come with this South Beach hotel room. The media room has one queen sofa bed and is equipped with a guest bathroom and a full kitchen with stove range and stacking washer and drier. The WOW Suite is awesome but don’t get too excited because the E-WOW Suite is the mother of luxury suites at the W Hotel Miami. This 2,954 square foot three bedroom suite consists of just about every feature the W Hotel Miami offers. The E-WOW is almost too big to classify as a suite when it is compared to the reviews of the other units.

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Coffee Maker To Go

Black & Decker coffee maker Brew'N Go Question?

Hello, my father drives a truck for a living, and wanted to get him personal coffee maker for Christmas. I was watching the Black & Decker model Brew'N Go on amazon.com, but I can not find anywhere, even in other sites, what power you need to run. Can operate on 12 V, as a cigarette lighter, if not, how much wattage does it take to run? Anyone have one of these, and know the answer? Thanks

Here is the guide for the coffee maker. http://www.blackanddeckerappliances.com/dyn/prod/user-guide/45/DCM18% 20DCM18S.pdf This should give you the information you need.

BUSINESSSpring break a boon for businesses that do not generally wet t-shirt contests. They rarely alcohol on cruise ships. However, owners business in the city of love spring break.

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Book Review: Mexican Folk Art From Oaxacan Artist Families by Arden Aibel Rothstein and Anya Leah Rothstein

Alvin Starkman  M.A., LL.B.

 

Aficionados of folk art of the state of Oaxaca in southern Mexico are already familiar with Arden Aibel Rothstein and Anya Leah Rothstein’s Mexican Folk Art From Oaxacan Artist Families (Atglen, PA: Schiffer Publishing Ltd, 2007). It was surprising to learn, however, that some people with an interest in the crafts of Oaxaca’s central valleys, are not even aware of this seminal work – particularly since it was first published back in 2002.

 

The 2007 edition of Mexican Folk Art is a comprehensive compilation and detailed examination of each major type of contemporary Oaxacan folk art, set out in a refreshingly user friendly format.   The book is divided into ten chapters, each devoted to a different medium:  Ceramics, Textiles, Woodcarving, Metal (including tin work, cutlery and knives), Miniatures and Toys, Jewelry, Candles, Basketry and Dried Flower Crafts, with the final chapter devoted to Day of the Dead. 

 

Generally, each chapter begins with a broad description of an art form, including significant variations within.  In the Ceramics chapter, for example, the divisions are Terra Cotta, Green Glazed, Multi-Color Glazed, Black (barro negro) and Painted Red.  Often a village in Oaxaca’s central valleys is known for the production of a specific type of folk art.  Accordingly, in some cases a chapter then proceeds to describe a particular pueblo, giving the reader additional context.  We find descriptions of, amongst others, the ceramics towns of Atzompa, San Bartolo Coyotepec and Ocotlán.  

 

Where a family is noted for a special innovation or its adeptness at creating a certain craft, a family history follows. The individual craftspeople are then highlighted. For the black pottery of San Bartolo Coyotepec, we find descriptions of the De Nieto Castillo family, of which the famed Doña Rosa was a member, along with biographies of her son Don Valente Nieto Real and members of his clan; and of the Pedro Martínez family with biographies of acclaimed Carlomagno Pedro Martínez and his relatives.

 

All told, Mexican Folk Art showcases the works of 100 artists from 50 families living in Oaxaca or one of 13 nearby towns and villages.  In most cases we’re enlightened regarding the personality, worldview and motivation of each individual carver, weaver or potter, as well as provided with a biographical sketch, enhanced with the inclusion of a direct quote.  In this way the reader gains insight into the inspiration of each craftsperson. In many instances the authors also include a section on the techniques used by the artist, which variously includes the sourcing of raw materials such as wool from the Mixteca region of the state for making rugs and wall hangings, or clays from other regions of the state for changing tone and texture of sculptures; and processing methods including the extracting of natural dyes from fruits, plants, soils and the cochineal insect.

 

With its glossy front cover and approximately 700 photographs, Mexican Folk Art can rightfully be termed a coffee table book.  But it’s much more.  The photos in and of themselves bring the book, and the artists, to life:  Apolinar Aguilar of Ocotlán, forging a red hot piece of recycled metal into an artistic hunting knife; a display of provocatively painted clay ladies of the night made by his cousin Julian, son of celebrated Guillermina Aguilar;  Jacobo Ángeles of San Martín Tilcajete carving a figure from the wood of the copal tree, or standing alongside wife María and their family, each proudly displaying an exquisitely painted alebrije;  Teotitlán del Valle weaver Isaac Vásquez, working at his loom creating a tapete, the pattern inspired by a pre-Hispanic pictograph;  and fine examples of multi-colored highly detailed  hand embroidery from San Antonino, such as the yoke and sleeve of a wedding dress.

 

This gem should easily entice any reader with an interest or background in anthropology, history or geography.  The importance and influence of indigenous Zapotec ancestry and its present-day cultural manifestations shines through many of the ethnographic accounts.  The genealogies (referred to as Family Trees) comprising one of the appendices are in-depth, and date as far back as the 19th century.  They assist the reader in better understanding the historical and generational context of Oaxacan craft development.

 

To help those with an interest in exploring the craft villages and visiting the artists on their own, without the assistance of a Oaxaca tour guide, throughout the body of the book the address and all available additional contact information for each artist is provided, such as phone number and email.  A second appendix consists of a series of easy-to-read pueblo maps, detailing the precise location of each featured artist, further facilitating contact.

 

Authors Arden and Anya Rothstein correctly caution that their presentation of artists constitutes “a sampler” of what’s available to those interested in exploring Oaxaca’s hinterland.  They in fact encourage getting out and exploring on your own, finding that next folk artist who might rise to international stature. They are careful to qualify that their inclusions are based on which craftspeople are the most innovative, or produce work which is of especially high caliber according to certain criteria.  The Rothsteins recognize that the work of any innovator of an entire class of folk art, and of those producing quality a cut above that of the rest, is often out of the financial reach of many.  Therefore, they feature additional artists whose works are more affordable, yet also of exceptional quality. 

 

Collectors of folk art often need a reminder that buying the work of a recognized name does not necessarily mean that the product is the best, in terms of coloration or patina, form, design, or the imagery it provokes, and that what strikes the fancy of most, or of the so-called experts, might not be your particular cup of tea.  Along this vein, “honorable mention” is provided for makers of certain crafts whose works are not featured (under the heading of, for example, “Additional woodcarvers in Arrazola”).  The clear suggestion is that readers should get out there and explore, and make their own determinations and choices based upon personal preferences.

 

Is it worth purchasing the 2nd edition if you already have the 1st?  Certainly give it some consideration if you have not already enmeshed yourself in the appreciation and collecting of Oaxacan folk art by having explored the central valleys. Where the 2002 volume boasts 500 photos and features 87 artists within 44 families, the most recent publication, as noted earlier, has been expanded to 700, 100 and 50, respectively.  Some of the craftspeople merely mentioned in the earlier volume under the “Additional” heading, have been elevated to “featured artist,” with their works and stories duly chronicled.  And in some cases where families have grown and pueblo demographics have been altered, the authors have appropriately noted changes.  Wisely, at least in this critic’s opinion, the U.S. dollar “Price Guide” has been omitted from this new volume, since more than anything else it likely lead to confusion for the buying public, with the potential of putting up barriers between artists and prospective customers.  As between Mexican and American economies, there are so many variables and market conditions at play, best to allow vendor/creator and purchaser do their own assessment respecting value for workmanship.

 

Mexican Folk Art is a well-researched exhaustive study of all major types of contemporary Oaxacan folk art and their makers, past and present.  Don’t let its appearance as “just another fancy coffee table book” deceive you.  It accomplishes what it sets out to do, and then some.  It should be viewed as a guide, rather than a bible.  If we’re ever blessed with a 3rd edition, perhaps the publisher will deem it advisable to place duplicates of the pueblo maps in a separate pocket … it would be a pity for such a wonderful work to become unduly worn by toting it from village to village.

About the Author

Alvin Starkman received his Masters in Social Anthropology in 1978. After teaching for a few years he attended Osgoode Hall Law School in Toronto, thereafter embarking upon a career as a litigator until 2004. Alvin now resides in Oaxaca, where he writes, leads small group tours to the villages, markets, ruins and other sites, is a consultant to film production companies, and operates Casa Machaya Oaxaca Bed & Breakfast. ( http://www.oaxacadream.com ) .

Do Something 13 July-December 31 This is the last Do Something calendar of events:

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Coffee Maker Good Housekeeping

Beijing apartment: a broad definition

Apartments emerging as the trendiest place to stay for both business and tourists today. An apartment is a rental service like a hotel, where you can stay for a few days or weeks depending on the nature and purpose of your visit.

Many visitors prefer to stay in apartments when they move to a new city and have to find a permanent location. The reason why apartments are the best option for those looking for transit accommodation either for short or extended duration is due to living in an apartment feels almost like living at home. You do not get the "I'm living in a hotel" feeling when you live in an apartment.

Serviced apartments are operated as hotels – book rooms by calling or by writing to the property, it follows a check-in and check out schedule, and you do not have to pay extra for services such as cleaning, maintenance and service public. The similarity, however, end here.

Apartments are usually 30% to 35% cheaper than when compared to a similar level hotels. This is due to the price structure in apartments is based on a long-term stays resulting in occupancy rates far higher.

Serviced apartments are broader than allowed to spread, literally, yourself all over the place. The second major difference between an apartment and a hotel is that you can cook your own meal in a serviced apartment whenever you choose to do so. This advantage is especially important advantage for those guests with special dietary needs and as those with very young children.

Trying to sterilize bottles in a traditional hotel can be a great challenge. Hotels usually do not allow cook in your room, except in cases where the hotel owns and operates its own services apartments, in addition to regular rooms.

Apartments have all the amenities traditionally associated with a normal hotel. Besides being fully furnished apartments are secured with guards that are published cameras 24×7 remote and are used for surveillance purposes.

Many apartments offer Internet connectivity and telephone. Kitchens are equipped apartments with gas cooker, fridge and microwave. Some even have coffee makers and food processors. Most apartments offer cooking utensils, cutlery and silverware. You never have to bring sheets or towels for an apartment.

There are generally four categories of rooms and suites:

? Room individual or a studio apartment with kitchenette
? One bedroom suite
? two-room suite
? three-bedroom suite

In cases unusual hotels can be up to eight rooms. Each bedroom suite has an attached room. The serviced apartment concept is relatively new and therefore there currently no system to rate them. It is always a good idea to get a detailed description and a list of services before booking your room in an apartment downtown.

About the Author

Woodstock Inn – A benchmark for the season and the ages Susan Wood Woodstock, Vermont – Vermont's red carpet launch in the fall is beyond land under his world-famous maple trees. In the heart of Vermont, Woodstock has a AAA four diamond-class hotel rich in history and emblematic of the quaint colonial-style villa, as the name of Rockefeller and the origin of agricultural [...]

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Keurig coffee maker questions!?

I just got an awesome new Keurig coffee maker for Christmas! Where is the best place to get the cups? I’m not into the hot chocolate and I make tea from looseleaf tea so I’m not really interested in the teas, mostly just the coffee. Where is the cheapest place to get them, and which kind would you recommend?

I usually buy a box of k-cups at Timothy’s at the mall. You can buy it online also. Hazelnut is the best I find.

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THE CHALLENGES OF MARKETING INNOVATION FOR A BETTER SUSTAINABLE DEVELOPMENT

INTRODUCTION

 

Marketing is about selling people more. So can sustainable marketing really work?

- Marketing comprises a set of skills that generally enable companies to sell more stuff to more people to get a greater share of the market. These skills are usually portable: it doesn’t matter what’s being sold to whom in what marketplace. The social and environmental impact of the stuff that’s being marketed remains, for the vast majority of people in marketing, until recently, largely irrelevant. The idea of sustainable marketing is inevitably sort of ridiculous.

- Sustainable development comprises a set of ideas, principles, values, mindsets and practices that enable individuals and organizations to improve their quality of life in ways that simultaneously protect and enhance the Earth’s life-support systems, in other words, without destroying the planet. At the very least, it can mean consuming in more environmentally and socially responsible ways; for some, it means consuming less.

The idea of sustainable marketing is, therefore, sort of suspect. The marketplace is greener now than ever before and will become even more responsive to products and services promising environmental responsibility well into the 21st century. The reasons are many. People are worried. In the 1980’s, environmental calamities dominated the news. Almost daily, headlines trumpeted oil spills, toxic-waste dumps, and nuclear meltdowns. A hole punctured the ozone layer, a garbage barge searched in vain for a dumpsite; apples were not considered safe to eat. The issues were no longer in someone else’s backyard far-away, but in our own. The environment rose to the top of the public’s worry list.

 

 

MARKETING INNOVATION AND SUSTAINABLE MARKETING

 

Nowadays, businesses that fall short of developing effective value propositions have difficulties in taking advantage of market opportunities that are characterized by uncompromising market forces such increased competition, shortened product lifecycles and more sophisticated and variable customer demands. It is a disconcerting fact that many, if not most, businesses struggle to develop sustainable, innovative value propositions that help them sustain their market positions.

Marketing innovation and sustainable development are today’s hottest topics of our planet among intellectuals. Why not harness the creativity and innovation of one of the oldest professions there is to move forward our societies onto a much more sustainable footing? Humanity has been known to tackle far more challenging tasks, anywhere from placing a man on the moon, to persuading people to buy aloe vera toilet paper, as Steve Hilton from Good Business often illustrates. Surely, therefore, bringing together these innovators and persuaders needed to make the world more sustainable should also be possible.

Will we assist to less growth with marketing sustainability? Not really. I think if it is well done, it could mean better, smarter and much more efficient ways of buying and making stuff. What if marketing sustainability is just a pipe dream when consumers are largely ambivalent about the green credentials of the products and services they buy, and certainly find it difficult to pay ‘green premiums’? We don’t think it will be. If done properly, it will appeal to personal values and allow that twinge of “I would really like to do something”.

However, I have to notice that efforts by the odd responsible company are not nearly enough to make producer and consumer change stick. A much wider collective effort is needed if we are going to be successful at reversing unsustainable patterns of consumption and production, considering most of us are not willing to sacrifice Aloe Vera toilet paper for banana leaves. If marketing can turn “lead into gold”, then it has the potential to make sustainable development a household word, a universally recognised way of adding both social and economic value. Marketing can create, influence and change target audience attitudes, beliefs and perceptions. In a nutshell, marketing works; that’s why companies do it. A more interesting question is how can it be used to reinforce sustainable development?

I have to mention that although sustainable development and marketing innovation are the 21st century most discussed topics, they are conflicting concepts. Today’s evolution about these topics is to set a challenging sustainable development benchmarks for every element of the marketing mix and build intrinsic brand value in and through sustainable development. Through engaging companies from a range of sectors that are both already active in sustainable development and have high brand awareness, as well as leading media and communications agencies open to new opportunities, we hope to build wider competencies in sustainable marketing within the profession and more broadly in businesses. 

 MARKETING INNOVATION

Much of the discussion about marketing and sustainable development focuses on developed markets; on the levels of consumption amongst the world’s richest people and the changing nature of their preferences. Companies face fierce competition for growth in developed countries whilst, in contrast, the most disadvantaged people in the world represent a market with enormous potential. And if the world’s population expands in line with current predictions, over 90% of people will be living in (what are now) developing countries within 30 years. It is no surprise, then, that marketers are increasingly interested in the opportunities amongst the world’s poor, which may involve addressing their basic needs. But is this wishful thinking, or are there compelling commercial reasons for business to pay attention to developing markets? As the term sustainable development enters the business mainstream, the responsibility for managing social and environmental issues is slowly shifting from the corporate fringe to an important business function.

The implementation of communication strategies is a marketing innovation. Not only does the company inform the general public of its efforts to reduce its environmental impact, but in addition, it listens to its clients and tries to gain acceptance of its employees. A sophisticated form of the communication strategy consists of taking part directly in the development of restrictive measures (emission standards, branch agreements, etc.). This effort seems to show a proactive approach to companies on the environmental question, but on the other hand, it could be a way to impede environmental progress by means of a lobbying policy.

It is a truth universally acknowledged that a company in possession of a good (or poor) fortune must be in want of innovation. Yet, by all accounts, some 40-90% of innovations fail in the market. In this elective we examine the drivers of market adoption, taking the perspectives of both ‘objective reality’ and the ‘perceived reality’ of the players in the decision. We then offer some suggestions for bringing innovations more successfully to market.

Invention and innovation have proven to be crucial components for the development of modern societies. However, 1.3 billion people who currently live on less than a dollar a day do not enjoy the benefits that many modern inventions have brought. At the same time some key new technologies are known to have caused enormous damage to the global environment.

SUSTAINABLE MARKETING

Increasingly, business is investing in sustainable development strategies, often not fully embraced by their marketing departments.

The result of this means that mixed messages are being transmitted to shareholders and stakeholders alike. There is a real need to join sustainable development business strategy with the marketing departments that drive that strategy forward.
Because marketing influences the development of products and services, as well as the communication methods used to influence consumer behaviour, it is at the axis of one of the most challenging issues facing business today: addressing the current unsustainable levels of production and consumption in an uncertain world.

There are two key approaches to marketing and sustainability. One seeks to embed sustainable development within a company’s core marketing strategy from innovation to the market. The other aligns opportunities for marketing and advertising with the values of sustainable development, either overtly or covertly.

Why is it now that people think about sustainable marketing?

As mainstream marketing is changing and as we enter a ‘third age’ of branding, the context for brands is changing irrevocably. The first age of branding was the age of functionality, where product purpose was legitimised through trademarks. The second age was the age of aspiration, meaning brands served a self actualising purpose. The third age of branding is the age of reconnection, that is, solutions-oriented branding. Empowering consumers to make the world a better place through the products they buy.  For example, if we take the case of the refrigerators, we can say that in 1950’s, somebody could easily be convinced to buy a refrigerator just because it looked cool in his/her eyes, but in today’s uncertain world, we might ask ourselves about the impact of the chlorofluorocarbons (CFCs) that our refrigerator is emitting and demand a more environmentally friendly refrigerator.

So, if today’s successful marketing is about appealing to personal values and delivering consumer empowerment, then surely the time is right to inject sustainable development into the marketing mix to help address some of the gritty issues currently facing our planet.

SUSTAINABLE DEVELOPMENT

Today’s fast technologies innovation and invention have made people worry about their living environment. Although they need improvements for the household equipments they are daily using, they started asking themselves about the future of the world. Based on this, we have to mention that marketing innovation is developing with consequences for humankind. In this 21st century, sustainable development remains a term which many marketers have become accustomed to hearing alongside jargon such as stakeholder engagement and Corporate Social Responsibility (CSR).

Sustainable development is a compelling idea for many people. It is concerned with how business can contribute to some of the most significant challenges that the world faces today; from climate change and biodiversity, to working conditions and health amongst the poorest in the world. But marketing managers have struggled to translate these ideas into viable commercial propositions into marketing strategies that create competitive advantage, build trust or develop new business opportunities.

Moreover, marketers have often faced criticism for being part of the problem for pushing the consumption of unsustainable products and lifestyles.

Sustainable development is becoming a key strategic issue for companies. With growing pressure from global warming, natural resource depletion, widening social gaps, legislation, societal pressures, and the evolution of consumer expectation, the role of marketing within an organization is changing dramatically. Consumer demand for “ethical” products and services is increasing and the marketing is a lever for innovation to answer to this new demand. Social and environmental values are now elements of a brand, marketers need to tackle these issues. Sustainable development is the practice of protecting the environment while improving living standards for all, and invention and innovation is key to its success. Invention and innovation for sustainable development isn’t just about developing new technology, but includes new processes and new ways of solving old problems. Creative thinking is the rubric. Creative thinking has always been integral for improving well-being.

Despite the fact that people everywhere have an innate ability to be creative, rich countries are not doing enough to stimulate and harness invention and creative thinking, and poor countries tend to stifle innovation and creativity outright. This is typically due to a combination of factors: insufficient financial resources, lack of role models, education systems that don’t inspire or value creativity, and social/political environments that discourage creativity, invention and entrepreneurship. Sustainable development has different meanings and implications in different parts of the world. Julia Marton-Lefèvre, executive director of LEAD International, an organization dedicated to leadership for environment and development in a workshop on “invention and innovation for sustainable development” held in November 2003 said to understand the challenges and ramifications “not only in London and Paris and New York, but also in tiny villages in Nigeria and Indonesia and China.” Sustainable development is for all countries, not just developing ones. Based on what she said, I can mention that while rich countries need to develop alternative sources of energy and other technologies that reduce their own impact on the environment, poor countries need to develop their own innovation capacity, in order to address their own particular needs.

CHALLENGES FOR MARKETERS TO ACHIEVE SUSTAINABLE DEVELOPMENT

Companies create competitive advantage by understanding the shifts in society; from technological innovations such as the 3G communication system to the unwinding consequences of events such as May 12th China earthquake. These trends are the foundations of marketing strategy, and the emergence of sustainable development as a matter of public and corporate concern is one such change in the marketing environment. In recent years, hundreds of companies have developed ethical policies or mission statements. These initiatives appear to be grounded in market realities. For example, a Weber Shandwick survey of 8,000 consumers in 2001 indicates that 80% of high-education/high-income people in the USA have considered switching brands when a company was negatively portrayed in the media in respect of social responsibility issues. But today, the question for marketers is: is there really an opportunity for them to use sustainable development as a lever of brand innovation, rather than the greenwash?

Marketers rightly insist that appealing to sustainability values will not overcome a fundamental weakness in product quality, yet with excellent products there is evidence that social and environmental aspects can be used to differentiate or create a profitable niche. For them, Sustainability values can be a successful differentiator; a key part of the functional and emotional attributes of a product or service. Many of marketers argue that integrating sustainability values into a brand can contribute to market growth. As one professional has commented, “As long as performance, price and place are right, then corporate responsibility can become a differentiator, although a significant price premium is not possible.”

Nowadays, a lot of businesses have tried to differentiate specific products on the basis of their social and environmental impacts. For example, Toyota has used celebrity endorsements to promote the environmental credentials of the Prius, their hybrid fuel car; it has also approved plans to use more distinctive badging on its hybrid Highlander and Lexus models. And niche businesses (increasingly joined by mainstream retailers) supplying fair trade coffee and organic products have targeted consumer concerns regarding working conditions and chemical pollution in the food supply chain, often using eco-labels and social labels to enhance the consumer understanding of their products.

The opportunity for differentiation is perhaps more significant in the business-to-business sector. Business-to-business companies are increasingly identifying opportunities to position their products and services in the wider context of their social and environmental impact as well as their cost and functionality. As one marketer has suggested: “Corporate customers are more interested in these issues than individual customers” Another marketer has confirmed the basis of this business-to-business market: “The challenge is what do customers care about: sometimes it is just price and delivery, but functionality can include aspects of sustainability, like reducing your customers’ waste so their operations run better, helping them deal with and/or eliminate regulatory issues.”

Today’s challenge for marketers to achieve their goals by integrating marketing innovation with sustainable development is to build trust with customers, consumers and society.

Reputation – the goodwill that an organization has acquired from its past performance – is the foundation of future success, the basis on which a business will be trusted in years to come. Companies remain among the least trusted institutions in society, with some businesses particularly vulnerable to pressure group campaigns and consumer boycotts. As a result, many marketers are asking themselves how to minimize the risk of criticism from stakeholders, and whether sustainable development has a role to play in these efforts. Perhaps more positively, they are also wondering what part their companies’ ambitions and achievements on social and environmental issues can play in building and maintaining trust with consumers, customers and society as a whole.

Some marketers are also concerned that reputation and trust may not be sufficient to preserve their brands in the longer-term: current patterns of consumption are not sustainable, and so customers and consumers must be educated in order to protect or secure the resources on which business is based.

Products with sustainability attributes will only appeal if they are clearly consistent with the values and activities of the company.

Many people care about the social and environmental impacts of business. Yet people trust companies when they believe they are acting according to their values, and not just because it happens to make sense in that particular instance. Credibility comes from the confidence that a business will continue to behave ethically in the future: a business will gain little reputational benefit – and more likely harm – from helping a community if local people see the contribution as a short-term ‘bribe’ that will be withdrawn as soon as its immediate objective is achieved. Marketers have a critical role in building trust. In particular, they can help to create inspiring communications, which are honestly based on the abilities of the organisation and the resources that it can realistically devote to enhancing its social and environmental performance.

However, reputation and trust may not be sufficient to safeguard a brand. To succeed, marketers must lead the path towards more sustainable consumption.

International policy makers are paying more and more attention to some of the greatest challenges to society and the environment. For example, UK previous Prime Minister Tony Blair placed poverty in Africa and climate change at the top of the G8 agenda for 2005. These issues are critical to the long-run success of business. In short, companies cannot operate effectively in societies and economies which fail to protect and support the production and consumption of their products and services. Business needs reliable access to sources of raw material, safe working conditions for production, storage and distribution, thriving consumer markets, and safe mechanisms for the disposal of product waste. There is much that governments must do. But if consumers aren’t switching to more sustainable products, then it will also fall to business to break the current patterns of consumption. And it is often the marketer who will be best positioned to create this connection between business and consumers.

CONCLUSION

Purchasing organic or fair trade produce is now very easy, but making purchasing decisions about other products such as mobile phones on environmental, social or ethical grounds remains difficult. Innovation for sustainable development would inevitably lead to new product-service systems. Current consumer culture with its emphasis on ownership as a status symbol creates significant barriers to the acceptance of these new product service systems.

Although new products and services may be essential for future growth and profit,

companies must survive today to be around tomorrow. Short term financial objectives tend to focus companies on making incremental improvements that keep sales up, keep customers happy and satisfy city analysts rather than the more radical approaches that would promote innovation for sustainable development.

Transforming today’s companies into sustainable innovation stars is not a simple case of creating a new sustainable innovation tool. Product and service innovation is part of a much wider innovation system and is affected by conditions as wide ranging as government leadership on sustainable development and organisational structures within companies. Addressing the barriers to integrating sustainable development into product and service innovation, therefore, requires change to take place across the entire system; from the introduction of new tools into the immediate product development process to the integration of sustainable development objectives into innovation policy.

Sustainable development specialists (and those with equivalent positions or responsibilities) are no longer just responsible for the management of philanthropic initiatives, community engagement programs or environmental impact assessments.

Instead, in leading companies, these managers are expected to act as agents of change: to develop the structures, systems, ways of working and personal values that will support the organisation’s sustainable development objectives; and to encourage others in the company to act as enthusiastic agents of change.

 

 References

 

- Aggeri, F., Pezzet E. and Alii (2005), “Organiser le Développement Durable”, Paris, Vuibert

- Asselineau, A. and Pierre Piré-Lechard (2008), “Développement Durable et Entreprise Responsable : Une voie pour l’innovation de rupture ”, Communication présentée lors des 3èmes journées Neptune, 1ère université : Réalités et Prospectives du développement durable organisationnel, ERMES, IAE de Toulon, Observatoire du développement durable, Université du Sud-Toulon-Var, Toulon, 13-14 Novembre 2008

- Bridgewater, S. and Peter Doyle (1998) “Innovation in Marketing”, Business and Economics

- Buisson, J. (2006) “La Responsabilité sociale de l’entreprise”, Economie et Management, N°119, Avril.

- Commissariat général au développement durable (2009) “Stratégie nationale du développement durable 2009-2012”, Ministère français de l’écologie, de l’énergie, du développement durable et de l’aménagement du territoire

- Cravens, D. (2006) “Strategic Marketing global challenges and Opportunities”, Handbook of Business Strategy, Vol. 7, Issue. 1, pp.63-70

- Fuller, D.A. (1999) “Sustainable Marketing”, Sage Publication, London-New Delhi

- Guignard, S.and Claire Prendleloup (2008) “Le développement durable”, Agence de l’environnement et de la maitrise de l’énergie, Service Valorisation des informations et des connaissances

- Harribey, J.M. (2004) “Développement ne rime pas forcément avec croissance”, Le Monde Diplomatique, Juillet

- Hauser, J., Gerard J.Tellis and Abbie Griffin (2006), “Research on Innovation: A Review and Agenda for Marketing Science”, Marketing Science, Volume 25, Number 6, November-December 2006, pp.687-717

- Jaffro, V. and Anne-Gaël Girrard (2008), “Responsabilité Sociale et Développement Durable, comment construire un modèle d’innovation et de collaboration pour les entreprises ” www.biggerthinking.com/sustainability/innovation

- Kates, R.W., Thomas M. Parris and Anthony A. Leiserowitz (2005) “What is Sustainable Development? Goals, Indicators, Values and Practice”, Science and Policy for Sustainable Development, Vol.47-Number 3, pp.8-21

-  Lambe, P. (2003) “Marketing Innovations”, www.greenchameleon.com

- Lawrence, G. (2006) “promoting Sustainable Development: the question of Governance”, Research in Rural Sociology and Development, Vol.11, pp. 145-174

- Longhurst, J.W.S., Stephen A. Dalton and David C. Gibbs (1995) “Towards a sustainable future: Promoting Sustainable Development”, The Environmentalist, Vol.15 Number 4/ December 1995

- OECD (2001) “Sustainable Development: Critical Issues”, Policy Brief-September 2001

- Patris, C., Gerard Valenduc and Francoise Warrant (2001) “Technological Innovation fostering Sustainable Development”, Report on a Research Project at the Federal Service for scientific, technical and Cultural Affairs (SSTC), under the Levers for sustainable development programme

- Reynaud, E. (2006) “Le développement durable au cœur de  l’entreprise. Pour une approche transverse du développement durable”, Dunod

- Taylor, J. (2002) “Sustainable Development: A Dubious Solution in search of a problem”, Policy Analysis Number 449- August 26, 2002

 

About the Author

CISSE DAOUDA
International Trade Ph.D.Candidate
Zhongnan University of Economics and Law-Wuhan-CHINA
Tel:0086-13429878747
E-mail:cissedaouda2008@hotmail.com

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