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madstars-festival · 9 months ago

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[WINNER INTERVIEW] THE MAKING OF A GRAND PRIX OF THE YEAR WINNER

Last year, 20,282 entries from 63 countries were submitted to the MAD STARS. Among the 788 winning works, 'SHELLMET' by TBWA\Hakuhodo was selected as the Grand Prix of the Year, in the PSA category.

SHELLMET is a combination of shell and helmet and is an upcycled helmet developed by the town of Sarufutsu in Hokkaido, Japan, and plastic manufacturer Koushi Chemical Industry Co., Ltd.

The town of Sarufutsu, one of the scallop-producing areas in Hokkaido, Japan, exports about 40,000 tons of scallops every year, but at the same time, 40,000 tons of shells are being discarded as marine debris. When the export of shells was suspended in 2021, the town suffered from soil pollution and odors as the shells were left behind.

TBWA\Hakuhodo and Koushi Chemical Industry Co., Ltd. stepped in to solve this problem by creating a durable new material from scallop shells and recycled plastic and repurposing them into helmets.

What was the story behind the creation of the shells, connecting the common essence of shells and helmets to protect against external impacts?

We caught up with Takahiro Hosoda, chief creative officer at TBWA\Hakuhodo, who led the campaign, to find out!

Q. Where did the idea for SHELLMET come from?

A: It was about three years ago. A company called Koushi Chemical Industry tweeted about a new technology. It had developed technology with which eggshells could be transformed into plastic. An art director on my team noticed this and started imagining potential creative applications. We discussed this as a team, and one member remembered a story about seashell waste build-up affecting areas of Hokkaido in northern Japan. We thought that if we could leverage this technology and make plastic from these waste seashells, we could turn them into a valuable resource. That was the germination of the idea that would become SHELLMET.

Q. What were the challenges in getting it from idea to product?

A: The biggest issue was the "Strength" of the plastic material itself. We were birthing a product that is meant to protect human lives so there was no room for any compromise on safety. We collaborated with university-level researchers and tested them over and over.

Q. Were there any “Godsends” that helped to make it easier?

A: Actually, the godsend was the design of SHELLMET. We mimicked the rib structure found on actual scallop shells, initially as a visual nod to the source material from which SHELLMET is made. However, it turned out that this very design, the rib structure, gave SHELLMET the extra strength and durability that make it so viable as a product. There was some discussion about the cost implications of this design initially, but by pursuing this design, we achieved 30% more strength compared to ordinary plastic helmets.

Q. After the campaign, what will happen to SHELLMET? What are its plans?

A: SHELLMET will not end with a single campaign. We want to take this new product and new material and make it a viable choice worldwide.

Firstly, we want to spread SHELLMET the product, throughout the world. We’ve already managed to make SHELLMET the official safety helmet for the 2025 Osaka Expo, and we are getting many orders from factories across Japan choosing to use SHELLMET to protect their employees.

SHELLMET can be used to protect the lives of cyclists and can become the emergency protective gear of choice for all businesses, schools, and government facilities across the world. We’ve only scratched the surface and we intend to take it as far as we can.

Secondly, we want to expand the usage of the material from which SHELLMET is made. The material has so many potential applications like smartphone cases, earphone cases, or suitcases to name just a few. We are already being approached by many businesses and we are excitedly exploring future applications.

Q. What do you think are the criteria for great creative work? What helps you to make your work, and the work of your agency creative?

A: Firstly, to move people with ideas they’ve never seen. This is the essence of good creativity, and this does not change. However, great creative work in our times must also satisfy three important criteria. Namely the brand, the user, and society itself. Most traditional creative briefs are focused solely on brand profit and benefit.

We make a point of exploring these questions always: “How can we make the customer happier?” “How can we benefit society and bring meaningful change?”

Secondly, expand your thinking and vision through questioning, which will help you create a bigger, more impactful, and meaningful idea. This will, in turn, will help the brand reap even greater benefits.

Q. What does it mean to you and your agency to have won the award at MAD STARS?

A: To me, this trophy is not a symbol of what we’ve achieved. It is a symbol that orients us toward the future, telling us to do more.

We’re going “madder” than ever before and will continue to create meaningful changes for society. We thank all members involved in MAD STARS for this great honor. From the bottom of our hearts!

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Who will take home this year's Grand Prix of the Year? It could be you at MAD STARS 2024!

The 1st entry deadline (Early Bird) is approaching fast – May 10th.

Share your innovative solutions in Marketing, Advertising, or Digital content, and be a part of changing the world!

Let your ideas shine bright at MAD STARS 2024.

Submit your idea 👉🏻 www.madstars.org

#festival #advertising #busan #marketing #creative #digital #madstars #awards #madstars2023 #award #interview #award winning #winner #hakuhodo #psa #shellmet #grand prix of the winner

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sabakos · 27 days ago

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Sadly, no. That would be much funnier but Luce is actually a girl.

Speaking at a Vatican press conference on Oct. 28 next to a plastic figurine of Luce, Fisichella described Luce’s shining eyes as “a symbol of the hope of the heart.” Luce, he said, will also be the face of the Holy See’s pavilion at Expo 2025 in Osaka, Japan, where she will represent the Vatican’s pavilion theme, “Beauty Brings Hope,” alongside Caravaggio’s “The Entombment of Christ,” a painting that will be temporarily on loan from the Vatican Museums for the expo.

i mean we're probably going to see a lot of vaguely-anime branded things for the 2025 World Expo. but this one especially is pretty funny

Japanese cultural victory

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alleventsalert · 3 years ago

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Plastic Expo Osaka 2022 - Plas.jp

Plastic Expo Osaka 2022 – Plas.jp

Plas.jp – Plastic Expo Osaka 2022 are organized by Reed Exhibitions Japan Ltd. It will be held on 11 May – 13 May 2022 in Osaka, Japan. Plas.jp | Plastic Expo Osaka 2022 You just need to follow the steps to participate in Reed Exhibitions Japan Ltd. (Plastic Expo Osaka). Open your default internet browser.Type www.Plas.jp. it in your address bar. Fill in all the required details.Fill in the…

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#Plas #Plas.jp #Plas.jp 2022 #Plastic Expo Osaka #Plastic Expo Osaka 2022 #www.Plas.jp

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ilya-t · 4 years ago

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Living in the Transit Lounge by PICO IYER (1998)

By the time I was nine, I was already used to going to school by trans-Atlantic plane, to sleeping in airports, to shuttling back and forth, three times a year, between my parents’ (Indian) home in California and my boarding-school in England. Throughout the time I was growing up, I was never within 6,000 miles of the nearest relative—and came, therefore, to learn how to define relations in non-familial ways. From the time I was a teenager, I took it for granted that I could take my budget vacations (as I did) in Bolivia and Tibet, China and Morocco. It never seemed strange to me that a girlfriend might be half a world (or ten hours flying-time) away, that my closest friends might be on the other side of a continent or sea.

It was only recently that I realised that all these habits of mind and life would scarcely have been imaginable in my parents' youth; that the very facts and facilities that shape my world are all distinctly new developments, and mark me as a modern type.

It was only recently, in fact, that I realised that I am an example, perhaps, of an entirely new breed of people, a trans-continental tribe of wanderers that is multiplying as fast as international phone lines and Frequent Flyer programmes. We are the Transit Loungers, forever heading to the Departure Gate, forever orbiting the world. We buy our interests duty-free, we eat our food on plastic plates, we watch the world through borrowed headphones. We pass through countries as through revolving doors, resident aliens of the world, impermanent residents of nowhere. Nothing is strange to us, and nowhere is foreign. We are visitors even in our own homes.

This is not, I think, a function of affluence so much as of simple circumstance. I am not, that is, a jet-setter pursuing vacations from Marbella to Phuket; I am simply a fairly typical produce of a movable sensibility, living and working in a world that is itself increasingly small and increasingly mongrel. I am a multinational soul on a multicultural globe where more and more countries are as polyglot and restless as airports. Taking planes seems as natural to me as picking up the phone, or going to school; I fold up my self and carry it round with me as if were an overnight case.

The modern world seems increasingly made for people like me. I can plop myself down anywhere and find myself in the same relation of familiarity strangeness: Lusaka, after all, is scarcely more strange to me than the foreigners' England in which I was born, the America where I am registered as an ‘alien’, and the almost unvisited India that people tell me is my home. I can fly from London to San Francisco to Osaka and feel myself no more a foreigner in one place than another; all of them are just locations—pavilions in some intercontintental Expo—and I can work or live or love in any one of them. All have Holiday Inns, direct-dial phones, CNN and DHL. All have sushi and Thai restaurants, Kentucky Fried Chicken and Coke. My office is as close as the nearest FAX machine or modem. Roppongi is West Hollywood is Leblon.

This kind of life offers an unprecedented sense of freedom and mobility: tied down to nowhere, we can pick and choose among locations. Ours is the first generation that can go off to visit Tibet for a week, or meet Tibetans down the street; ours is the first generation to be able to go to Nigeria for a holiday to find our roots—or to find they are not there. At the lowest level, this new internationalism also means that I can get on a plane in Los Angeles, get off a few hours later in Jakarta, and check into a Hilton, and order a cheeseburger in English, and pay for it all with an American Express card. At the next level, it means that I can meet, in the Hilton coffee-shop an Indonesian businessman who is as conversant as I am with Michael Kinsley and Magic Johnson and Madonna. At a deeper level, it means that I need never feel estranged. If all the world is alien to us, all the world is home.

I have learned, in fact, to love foreignness. In any place I visit, I have the privileges of an outsider: I am an object of interest, and even fascination; I am a person set apart, able to enjoy the benefits of the place without paying the taxes. And the places themselves seem glamorous to me—romantic—as seen through foreign eyes: distance on both sides lends enchantment. Policemen let me off speeding tickets, girls want to hear the stories of my life, pedestrians will gladly point me to the nearest Golden Arches. Perpetual foreigners in the transit lounge, we enjoy a kind of diplomatic immunity; and, living off room service in our hotel rooms, we are never obliged to grow up, or even, really, to be ourselves.

Thus many of us learn to exult in the blessings of belonging to what feels like a whole new race. It is a race, as Salman Rushdie says, of ‘people who root themselves in ideas rather than places, in memories as much as in material things; people who have been obliged to define themselves—because they are so defined by others—by their otherness; people in whose deepest selves strange fusions occur, unprecedented unions between what they were and where they find themselves.’ And when people argue that our very notion of wonder is eroded, that alienness itself is as seriously endangered as the wilderness, that more and more of the world is turning into a single synthetic monoculture, I am not worried: a Japanese version of a French fashion is something new, I say, not quite Japanese and not truly French. Comme des Garçons hybrids are the art-form of the time.

And yet, sometimes, I stop myself and think. What kind of heart is being produced by these new changes? And must I always be a None of the Above? When the stewardess comes down the aisle with disembarkation forms, what do I fill in? My passport says one thing, may face another; my accent contradicts my eyes. Place of Residence, Final Destination, even Marital Status are not much easier to fill in; usually I just tick ‘Other’.

And beneath all the boxes, where do we place ourselves? How does one fix a moving object on a map? I am not an exile, really, not an immigrant; not deracinated, I think, any more than I am rooted. I have not fled the oppression of war, nor found ostracism in the places where I do alight; I scarcely feel severed from a home I have scarcely known. Yet is ‘citizen of the world’ enough to comfort me? And does taking my home as every place make it easier to sleep at night?

Alienation, we are taught from kindergarten, is the condition of the time. This is the century of exiles and refugees, of boat people and statelessness; the time when traditions have been abolished, and men become closer to machines. This is the century of estrangement: more than a third of all Afghans live outside Afghanistan; the second city of the Khmers is a refugee camp; the second tongue of Beverly Hills is Farsi. The very notion of nation-states is outdated; many of us are as cross-hatched within as Beirut.

To understand the modern state; we are often told, we must read V.S. Naipaul, and see how people estranged from their cultures mimic people estranged from their roots. Naipaul is the definitive modern traveler in part because he is the definitive symbol of modern rootlessness; his singular qualification for his wanderings is not his stamina, nor his bravado, nor his love of exploration—it is, quite simply, his congenital displacement. Here is a man who was a foreigner at birth, a citizen of an exiled community set down on a colonised island. Here is a man for whom every arrival is enigmatic, a man without a home—except for an India to which he stubbornly returns, only to be reminded of his distance from it. The strength of Naipaul is the poignancy of Naipaul: the poignancy of a wanderer who tries to go home, but is not taken in, and is accepted by another home only so long as he admits that he's a lodger there.

There is, however, another way of apprehending foreignness, and that is the way of Nabokov. In him we see an avid cultivation of the novel: he collects foreign worlds with a connoisseur's delight, he sees foreign words as toys to play with, and exile as the state of kings. This touring aristocrat can even relish the pleasures of Lo culture precisely because they are the things that his own high culture lacks: the motel and the summer camp, the roadside attraction and the hot fudge sundae. I recognise in Nabokov a European's love for America rooted in America's very youthfulness and heedlessness; I recognise in him the sense that the newcomer's viewpoint may be the one most conducive to bright ardour. Unfamiliarity, in any form, breeds content.

Nabokov shows us that if nowhere is home, everywhere is. That instead of taking alienation as our natural state, we can feel partially adjusted everywhere. That the outsider at the feast does not have to sit in the corner alone, taking notes; he can plunge into the pleasures of his new home with abandon.

We airport-hoppers can, in fact, go through the world as through a house of wonders, picking up something at every stop, and taking the whole globe as our playpen, or our supermarket (and even if we don't go to the world, the world will increasingly come to us: just down the street, almost wherever we are, are nori and salsa, tiramisu and naan). We don't have a home, we have a hundred homes. And we can mix and match as the situation demands. ‘Nobody's history is my history,’ Kazuo Ishiguro, a great spokesman for the privileged homeless, once said to me, and then went on, ‘Whenever it was convenient for me to become very Japanese, I could become very Japanese, and then, when I wanted to drop it, I would just become this ordinary Englishman.’ Instantly, I felt a shock of recognition: I have a wardrobe of selves from which to choose. And I savour the luxury of being able to be an Indian in Cuba (where people are starving for yoga and Tagore), or an American in Thailand; to be an Englishman in New York.

And so we go on circling the world, six miles above the ground, displaced from Time, above the clouds, with all our needs attended to. We listen to announcements given in three languages. We confirm our reservations at every stop. We disembark at airports that are self-sufficient communities, with hotels, gymnasia and places of worship. At customs we have nothing to declare but ourselves.

But what is the price we pay for all of this? I sometimes think that this mobile way of life is as novel high-rises, or the video monitors that are re-wiring our consciousness. And even as we fret about the changes our progress wreaks in the air and on the airwaves, in forests and on streets, we hardly worry about the changes it is working in ourselves, the new kind of soul that is being born out of a new kind of life. Yet this could be the most dangerous development of all, and not only because it is the least examined.

For us in the Transit Lounge, disorientation is as alien as affiliation. We become professional observers, able to see the merits and deficiencies of anywhere, to balance our parents' viewpoints with their enemies' position. Yes, we say, of course it's terrible, but look at the situation from Saddam's point of view. I understand how you feel, but the Chinese had their own cultural reasons for Tiananmen Square. Fervour comes to seem to us the most foreign place of all.

Seasoned experts at dispassion, we are less good at involvement, or suspensions of disbelief; at, in fact, the abolition of distance. We are masters of the aerial perspective, but touching down becomes more difficult. Unable to get stirred by the raising of a flag, we are sometimes unable to see how anyone could be stirred. I sometimes think that this is how Rushdie, the great analyst of this condition, somehow became its victim. He had juggled homes for so long, so adroitly, that he forgot how the world looks to someone who is rooted—in country or belief. He had chosen to live so far from affiliation that he could no longer see why people choose affiliation in the first place. Besides, being part of no society means one is accountable to no one, and need respect no laws outside one's own. If single-nation people can be fanatical as terrorists, we can end up ineffectual as peace-keepers.

We become, in fact, strangers to belief itself, unable to comprehend many of the rages and dogmas that animate (and unite) people. Conflict itself seems inexplicable to us sometimes, simply because partisanship is; we have the agnostic's inability to retrace the steps of faith. I could not begin to fathom why some Moslems would think of murder after hearing about The Satanic Verses: yet sometimes I force myself to recall that it is we, in our floating skepticism, who are the exceptions, that in China or Iran, in Korea or Peru, it is not so strange to give up one's life for a cause.

We end up, then, a little like non-aligned nations, confirming our reservations at every step. We tell ourselves, self-servingly, that nationalism breeds monsters and choose to ignore the fact that internationalism breeds them too. Ours is the culpability not of the assassin, but of the bystander who takes a snapshot of the murder. Or, when the revolution catches fire, hops on the next plane out.

In any case, the issues, in the Transit Lounge, are passing; a few hours from now, they'll be a thousand miles away. Besides, this is a foreign country, we have no interests here. The only thing we have to fear are hijackers—passionate people with beliefs.

Sometimes, though, just sometimes, I am brought up short by symptoms of my condition. They are not major things, but they are peculiar ones and ones that would not have been common fifty year ago. I have never bought a house of any kind, any my ideal domestic environment, I sometimes tell my friends, is a hotel room. I have never voted, or ever wanted to vote, and I eat I restaurants three times a day. I have never supported a nation (in the Olympic Games, say), or represented ‘my country’ in anything. Even my name is weirdly international, because my ‘real name’ is one that makes sense only in the home where I have never lived.

I choose to live in America in part, I think, because it feels more alien the longer I stay there. I love being in Japan because it reminds me, at every turn, of my foreignness. When I want to see if any place is home, I must subject the candidates to a battery of tests. Home is the place of which one has memories but no expectations.

If I have any deeper home, it is, I suppose, in English. My language is the house I carry around with me as a snail his shell; and in my lesser moments I try to forget that mine is not the language spoken in America, or even, really, by any member of my family.

Yet even here, I find, I cannot place my accent, or reproduce it as I can the tones of others. And I am so used to modifying my English inflections according to whom I am talking to—an American, an Englishman, a villager in Nepal, a receptionist in Paris—that I scarcely know what kind of voice I have.

I wonder, sometimes, if this new kind of non-affiliation may not be alien to something fundamental in the human state. The refugee at least harbours passionate feelings about the world he has left—and generally seeks to return there; the exile at least is propelled by some kind of strong emotion away from the old country and towards the new—indifference is not an exile emotion. But what does the Transit Lounger feel? What are the issues that we would die for? What are the passions that we would live for?

Airports are among the only sites in public life where emotions are hugely sanctioned, in block capitals. We see people weep, shout, kiss in airports; we see them at the furthest edges of excitement and exhaustion. Airports are privileged spaces where we can see the primal states writ large—fear, recognition, hope. But there are some of us, perhaps, sitting at the Departure Gate, boarding-passes in hand, watching the destinations ticking over, who feel neither the pain of separation nor the exultation of wonder; who alight with the same emotions with which we embarked; who go down to the baggage carousel and watch our lives circling, circling, circling, waiting to be claimed.

#pico iyer #living in the transit lounge

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expomahal-blog · 5 years ago

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Foodtec Cambodia 2019 at Cambodia(Phnum Penh) 2019-September

wafer Business events, compound semiconductors Trade Shows, module substrates Exhibitors, industrial gas B2C ideas, targets contact list, electrodes business ideas, plastics companies contacts, backsheets contact list, filling companies list, sealing materials Exhibitions, interconnect materials Events, frame materials Exhibitors Directory, cell measurement machines Events, solar simulators Exhibitions, thickness gauging machines Exhibitions, electrical measuring equipment events, ammeters companies, voltmeters B2C opportunities, flowmeters Expos, optical irradiation machines Shows, spectral sensitivity measurement machines Events, substrate inspection machines Exhibitions, appearance inspection equipment info, testers Exhibitors, other evaluation Expos, testing Trade Shows, analysis equipment companies, monocrystalline solar cell/module business contacts, polycrystalline solar cell/module business, thin film solar cell/module contacts list, compound semiconductor solar cell/module Business events, dye-sensitised solar cell/module network, organic thin film solar cell/module business ideas, other solar cell/module business ideas, molding machines Shows, ingot manufacturing machines contacts list, wafer manufacturing machines Business events, slice companies, cut process machines B2B ideas, diamond wire-saws info, laser scribers contacts list, mechanical scribers Meetings, etching equipment companies contacts, coating applicators Fairs, melting furnaces Events, diffusion furnaces B2C ideas, baking furnaces B2B Opportunities, rtp furnaces companies list, cvd machines Meetings, electrode formulation equipment companies contacts, sputtering equipment info, wiring equipment Meetings, lay-up equipment B2C opportunities, laminating machines directory, framing machines Trade Fairs, turnkey systems business, cleaning equipment Shows, weld process contact links, soldering machines contacts list, carriers Expos, module assemblers and other manufacturing equipment. B2B Opportunities, odule manufacturers contact list, house Trade Fairs, plant companies contacts, construction-related companies business ideas, universities contact info, national institutes Expos, other solar cell Events, module business opportunities, pv system-related companies Exhibitors Directory, electric industry-related companies contacts list, cogeneration-related companies events, government and other public offices Exhibitors 2019, September, Japan, Osaka

PV System Expo - Osaka 2019 at Japan(Osaka) 2019-September

PV System Expo - Osaka 2019 trade show event mainly focuses on:

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Find More Details about PV System Expo - Osaka 2019 event...

We help you to grow your business by providing the required contact details of all companies participating in this event and you can download the same data in excel format using the above links. Location of the Event:Japan(Osaka) Year-Month:2019-September Official Website:Event Website source https://www.expomahal.com/2019/09/foodtec-cambodia-2019-at-cambodiaphnum_30.html

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clearspantents · 6 years ago

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minutmr-blog · 7 years ago

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Warehouse Robotics Market Report - Price Trends, Outlook and Research 2017 - 2025

Global Warehouse Robotics Market: Overview

Warehouse robotics is the use of robots to manage, control, and automate various warehouse operations with increased levels of performance and flexibility. The robots used in warehousing, also called autonomous mobile robotics are equipped with embedded intelligence and application software and serve several functions. They can be used to automate pick-and-package systems, or manage high-volume logistics, or can be specialized to perform high-speed sorting of parcels on the basis of their weights and dimension.

Over the past few years, warehouse robotics systems have gained increased popularity due to the global boom in e-commerce and its consequent impact on order fulfillment requirements. Warehouse robotics are characterized to handle a high volume of small, multi-line-item orders. The system has come to occupy a vital role in warehouse automation by offering a viable and cost-saving alternative to traditional human labor.

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Global Warehouse Robotics Market: Key Trends

The warehouse robotics market is majorly driven by the rapid strides e-commerce has taken over the past few decades coupled with the need for bringing automation across supply chain processes. The pressing need for efficient warehouse operations across a diverse range of industries—automotive, electrical and electronics, chemical, rubber, and plastics, and F&B—has spurred the demand for robotics systems. In addition, the increased adoption of warehouse robotics by a large number of small- and medium-scale enterprises to reduce production costs and increase profitability has stimulated the demand for warehouse robotics.

Spiraling investment by several start-up firms and established providers of warehouse automation, combined with an upsurge in investments by venture capitalists, is expected to propel the robotics warehouse market. However, the high costs incurred in total automation may restrain many small retailers from adopting warehouse robotics for their processes. On the other hand, the emergence of multi-robot fulfillment systems to assist humans in transportation opens up lucrative avenues in the market along the forecast period.

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Global Warehouse Robotics Market: Market Potential

Grey Orange, a fast emerging multinational technology company headquartered in Singapore has intended to exhibit its Butler robots in Sydney at SMART Expo to be held from March 29–30 in 2017. The company that pioneers in advanced robotics and automation solutions for warehousing has helped various companies across Asia Pacific improve last-mile delivery in e-commerce, omnichannel retail, and supply chain sectors. The Butler robots are specialized to manage changing inventory profiles and order fulfilment patterns in real time resulting in enhanced productivity and unmatched accuracy. The event holds special significance for several supply chain and logistics industry players.

The next-generation warehouse robots have an extensive demand across companies of all sizes who are looking to modernize their logistics operations. More recently, the company has bagged numerous orders by various retail chains in Hong Kong and India. One of the most significant demands that merits mention is the one from the Nitori Holdings Group, the largest furniture and home furnishing chain in Japan. The Butler systems will be installed at the Home Logistics Osaka distribution center to automate massive inventory storage and picking functions. Lately, there is an emerging demand for the warehouse robotics solutions from retailers in Europe and North America.

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Global Warehouse Robotics Market: Regional Outlook

The Asia Pacific market is expected to witness substantial demand for warehouse robotics over the forecast period. The impressive growth in the regional market is fueled by the rising trend of online retail shopping and soaring number of startup technology players developing autonomous mobile robotics solutions. The burgeoning need for streamlining supply chains and shortening delivery times has stimulated the demand for warehouse robotics among small and medium-scale retailers in Asia Pacific. In addition, a burgeoning e-commerce sector is expected to propel the regional market in the coming years.

Warehouse robotics systems are anticipated to witness significant adoption in e-commerce warehouses in developed markets of Europe and North America. The regional market will be driven by increased adoption of multichannel supply chain strategy and constant advances in industry automation software.

Global Warehouse Robotics Market: Competitive Analysis

Several warehouse management providers are actively developing interactive and advanced mobile automation solutions that help early adopters optimize picking operations and gain competitive benefits. Prominent players eyeing for a sustained share in this market include ABB, KUKA, Yaskawa Electric Corp., ATS Automation Tooling Systems Inc., Amazon, Honeywell International Inc., Fetch Robotics, Inc., IAM Robotics, and Omron Corporation.

The study presents reliable qualitative and quantitative insights into:

Market segments and sub-segments

Market trends and dynamics

Supply and demand chain of the market

Market valuation (revenue and/or volume)

Key trends/opportunities/challenges

Forces defining present and estimated future state of the competitive landscape

Technological developments

Value chain and stakeholder analysis

The regional analysis covers:

North America

Latin America

Europe

Asia Pacific

Middle East and Africa

The vast market research data included in the study is the result of extensive primary and secondary research activities. Surveys, personal interviews, and inputs from industry experts form the crux of primary research activities and data collected from trade journals, industry databases, and reputable paid sources form the basis of secondary research. The report also includes a detailed qualitative and quantitative analysis of the market, with the help of information collected from market participants operating across key sectors of the market value chain. A separate analysis of macro- and micro-economic aspects, regulations, and trends influencing the overall development of the market is also included in the report.

Highlights of the report:

A detailed analysis of key segments of the market

Recent developments in the market’s competitive landscape

Detailed analysis of market segments up to second or third level of segmentation

Historical, current, and projected future valuation of the market in terms of revenue and/or volume

Key business strategies adopted by influential market vendors

Outline of the regulatory framework surrounding and governing numerous aspects of the market

Growth opportunities in emerging and established markets

Recommendations to market players to stay ahead of the competition

About TMR Research

TMR Research is a premier provider of customized market research and consulting services to business entities keen on succeeding in today’s supercharged economic climate. Armed with an experienced, dedicated, and dynamic team of analysts, we are redefining the way our clients’ conduct business by providing them with authoritative and trusted research studies in tune with the latest methodologies and market trends.

Our savvy custom-built reports span a gamut of industries such as pharmaceuticals, chemicals and metals, food and beverages, and technology and media, among others. With actionable insights uncovered through in-depth research of the market, we try to bring about game-changing success for our clients.

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#Warehouse Robotics Market

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stevebattle · 2 years ago

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Janken Rock-Paper-Scissors robot by Jiro Aizawa and Osamu Tezuka (1970), Hoyamachi, Tokyo. This robot plays Rock-Paper-Scissors with visitors to the Fujipan pavilion at Expo'70, in Osaka, Japan. There are three pedals for its human opponents to make their choice, and a plastic mallet located unnervingly at head height – the penalty for losing. The sign on the front reads, "Please pedal gently" in case players get overexcited. Janken is big in Japan, used to solve arguments and make decisions, like who pays the Karaoke bar tab.

#cybernetics #robot #expo70 #1970

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expomahal-blog · 5 years ago

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