美国论文代写:苏打汽水公司

美国论文代写:苏打汽水公司

苏打汽水公司并没有试图通过其独特的或创新的功能来推广它的机器,但它试图从市场上杀死百事可乐之类的品牌。犯的最大错误是竞选活动。这是对百事可乐和可口可乐这两大饮料品牌的直接攻击。广告是这样设计的,这表明公司的目标不是把产品推向市场,而是把主要的品牌推向市场。最大的缺陷是该公司使用了“笼子”的概念,并使用了可口可乐和百事可乐等品牌的图片。百事可乐和可口可乐刊登在卡车广告上。该公司未经百事可乐或可口可乐公司许可,在其广告中使用其版权或商标。
苏打汽水公司没有权力贬低其他大品牌。这个想法很好,让人们意识到罐和瓶子对环境的破坏作用,但它纵容其他品牌的方式值得批评。苏打水市场营销策略中最重要的部分是利用它的环境效益。公司可以不使用百事可乐和可口可乐的商标和商标做广告。印刷本应该是模糊的,否则就不会使用任何品牌名称。在广告中直接使用品牌名称,可能会在公众心目中造成可口可乐、百事可乐等饮料品牌的坏名声。

美国论文代写:苏打汽水公司

The Stream Soda Company did not tried to promote its machine by its unique or innovative features, but it tried to kill the brand such as Pepsi and Coke from the market. The biggest mistake made was the campaign used. This was a direct attack on the largest beverage brands Pepsi and Coke. The advertisement was designed such as it suggests that the company objective is not to bring its product in the market but to drive the major brands out of the market. The biggest flaw was that the company used the idea of the cage and it used the pictures of the brand such as Coke and Pepsi. The Pepsi and Coke were printed on the ads of the trucks. The company did not take permission from the Pepsi or Coke to use their copyrights or trademarks in their advertisement.
The Stream Soda Company does not have an authority to degrade other big brands. The idea was good to make people aware of the damaging effects of can and bottles to the environment but the way it indulged other brand names was worth criticizing. The most important part of the Soda Stream’s marketing strategy was to leverage its environmental benefits. The company could have made the advertisement by not using the brand names and trademarks of Pepsi and Coke. The print should have been blurred or would have not used any brand names. As using the name of the brands directly in the advertisement may create bad reputation of the beverage brands such as Coke and Pepsi in the eyes of the public.

英国林肯大学论文代写 :设计哲学

英国林肯大学论文代写 :设计哲学

此外,这种特别皱的质量也称为物质铸造阴影,而阴影是属于光的。作为结论,可以说光是制造材料的责任,材料的目的是集中在投射阴影上。他将影子紧紧为了唤起敬畏和神秘的沉默[保罗,K.,农药,M.,2006,Louis Kahn是在哪里出生的?(爱沙尼亚语)。该ekspress。]。正如卡恩所说,黑暗导致了不可见的不确定性,与潜在的危险有关,它也激发了更深的神秘。建筑师的责任是唤起阴影、光线等元素的静默、戏剧或秘密,创造艺术的庇护所或阴影的宝库。因此,通过开口的串行行走,在沙克反映黑暗寂静的修道院院在门廊。黑暗的阴影洞和线条,从精确的方式定义的模具,提供了一个准确的纹理在巨大的墙壁上。灰色的水泥墙和白色的石头似乎呈现出一个三维度的单调的画布,与阴影一起演奏。阴影似乎正在变成一个重要的元素,揭示这个具体的形式和安排有关的整体体积卡恩[刘易斯,J. 1996。来源:路易斯·卡恩的游记。剑桥和伦敦:麻省理工学院出版社。尽管Kahn成功地在巴基斯坦和印度等暴露在极端阳光下的地区展示了一些建筑。没有的建筑被设计为从太阳保护用户,而是为阴影[ voolen,E.,2006相关的神圣的保护,犹太文化和艺术。Prestel。138页。爱沙尼亚出生的建筑师卡恩(1901 – 1974),1906随家人移居费城。他是一个非人工遮荫像brise soleils信徒。根据卡恩的说法,印度管理学院是建立在外部属于光,人们在内部工作和生活的方式。为避免被保护免受太阳,Kahn提出的理念来打造深拱保护酷影的发明。

英国林肯大学论文代写 :设计哲学

In addition, this particularly crumpled mass also known as the material casting shadow, and shadow is a belonging of light. As a point of conclusion, it can be stated that light is responsible for making material and the purpose of material is to be focused on casting a shadow. He linked the mystery of shadow closely in order to evoke awe and silence[ Paulus, K., Pesti, M., 2006, Where was Louis Kahn born?, (in Estonian). Eesti Ekspress.]. As per Kahn, as darkness results in evoking the uncertainty of no visibility, related to potential danger, it also results in inspiring deeper mystery. It is the responsibility of the architect for evoking silence, drama or secrecy with the elements of shadow and light, for the creation of a Sanctuary of Art or a treasury of shadows. Thus, walking by the serial of openings, over the portico at the institute of Salk that reflects the silence of darkness as a cloister. Dark shadow holes and lines, from the molds defined in a precise manner, offering an accurate texture over the huge walls. The grey concrete walls and the white stone seems to be presenting a monotone canvas of three dimension for playing with the shadows. Shade seems to be turning into an important element for revealing this specific form and arrangement related to the monolithic volumes of Kahn[ Lewis, J. 1996. Drawn From The Source: The Travel Sketches of Louis I. Kahn. Cambridge and London: MIT Press.]. Even although Kahn had been successful in presenting a number of building within regions that are in exposure to extreme levels of sunlight, like Pakistan and India. None of the buildings had been designed for the protection of users from the sun, but instead for the protection of sanctity related to the shadow[ Voolen, E., 2006, Jewish art and culture. Prestel. p. 138. The Estonian-born architect Kahn (1901–1974), who immigrated with his family to Philadelphia in 1906]. He was a non- believer of artificial shade like the brise soleils. According to Kahn, the Indian Institute of Management is built in a manner that the outside belongs to light, and people working and living in the inside. For avoiding being protected from the sun, Kahn made an invention of the idea to build deep intrados protecting the cool shadow.