Our Solutions News Blog was envisioned to gather and share information from the very best to help you and your business to become more effective.
There are lots of reasons to use direct mail, and you may have heard many of them. So here are three statistics on the value of direct mail marketing that you may not have heard...
Go Direct for Best Results
1. Direct mail has higher value in persuasion.
According to a recent study by Canada Post and True Impact Marketing, direct mail generates a motivation score that is 20% higher than digital media. The study found this score to be even higher when direct mail creative uses print enhancements (for example, special coatings, dimensionality, and print-to-mobile technologies).
2. Direct mail is easier to understand.
A wide variety of studies confirm that information provided in print is easier for people to understand and process than information provided in digital form. In the case of the True Impact study, direct mail was found to require 21% less cognitive effort. That means your message is absorbed more quickly and effectively.
3. Direct mail results in higher brand recall.
Not only is information in direct mail easier to process, but it is more likely to be retained. True Impact found that brand recall was 70% higher among participants who were exposed to direct mail ads rather than to digital ones.
Need more reasons to love direct mail? Just ask! Click Here » to learn more.
 “A Bias for Action” (Canada Post and True Impact Marketing, July 2015)
VICTORIA BC– The British Columbia Construction Association (BCCA) has published a follow-up to its Innovation Report (February 2016), which revealed BC’s construction sector lags behind other jurisdictions when it comes to innovation. The new report is called “Procuring Innovation” and lays out the case for the sector to recognize the procurement process as the key for driving innovative projects and sector development...
“The culture of lowest bid does not drive innovation in our industry”
“The culture of lowest bid does not drive innovation in our industry,” observes Chris Atchison, President of the BCCA. “Margins are tight and businesses have to operate profitably, yet if we don’t innovate we’re in danger of undermining our collective ability to compete. The sector has to introduce whole-life value to the process.”
The “Procuring Innovation” report acts as a comprehensive overview of the types and methods of procuring construction services, assesses emerging procurement practices being developed elsewhere, and offers recommendations for different approaches based on the unique circumstances of the project.
“We hope readers will gain a new sense of the key role that the approach to procurement plays in setting the foundation for a project,” says report author Helen Goodland of Brantwood Consulting. “There are tremendous benefits to incorporating new technologies, processes and solutions into construction projects, but innovation has to be championed by clients and owners who are committed to achieving the best value for their project.”
The report is intended to offer owners and clients best practice examples, and help architecture, engineering and construction firms set up their competitive response processes, so they can bring their best to projects that push technical and logistical boundaries.
Using mass timber as a case study, the authors demonstrate how the procurement process can be best deployed to accommodate project specific R&D, allow for new technologies and processes, and encourage project team creativity.
A full copy of the Construction Innovation Project Report can be downloaded Here »
Source: British Columbia Construction Association Report Author: Helen Goodland
Design decisions are increasingly directed not by architects but by marketing executives, writes Crystal Bennes...
IS DESIGN [ARCHITECTURE] OR MARKETING
We tend to think of marketing as something of the mind, the 21st-century equivalent of Satan’s whisperings to Eve in the Garden of Eden, rather than as something which has physical form. But of course marketing is often rooted in tangible objects, and nowhere is the relationship between product and advertisement more distempered than in the built environment. We must ask the question, where does architecture end and marketing begin?
Take the housing industry. While the familiar marketing apparatuses of print adverts and occasional video commercials still make an appearance, the primary tricks of the trade are construction hoardings and mocked-up sales showrooms. In most instances, both of these tools themselves require planning permission and effect visible change in the built environment. They are of course pop-ups - here today, gone tomorrow - but when read as a now-requisite extension of many major building projects, these forms take on new power.
For one thing, not all temporary marketing remains temporary. Despite a 1909 circular published by the American Institute of Architects stating that ‘advertising tends to lower the standard of the profession, and is therefore condemned’, Californian property developer Harry Chandler had no such qualms. In 1923, Chandler erected a giant billboard in the hills of LA to market his new housing development: Hollywood. Chandler’s sign has become so famous as a landmark in its own right that we’ve forgotten it was originally a pop-up advertisement. Indeed, in many respects it continues to function as shorthand for a glamorous lifestyle many associate with the Hollywood Hills.
What the example of the Hollywood sign illustrates is the extent to which the construction of new housing has historically gone hand in hand with marketing. In today’s car-centric western USA, large billboards are often found on the edges of motorways or other busy roads. Targeted at domestic buyers, these billboards don’t push an aspirational lifestyle to those sat in their cars, stuck in traffic. ‘If you lived here, you’d be home by now’ exemplifies the US approach. It’s not the aesthetics of luxury, but a shorter commute that seals the deal. Or think of the vogue for Hollywood-esque X-marks-the-spot signage on everything from FAT’s Villa in Hoogvliet to Will Alsop’s Peckham Library: Chandler’s legacy lives on, enfolded within contemporary building design.
"Increasingly, hoardings begin to function as a kind of architectural cross-section - where the Platonic ideal of the interior architecture, as an expression of lifestyle, is made publicly visible on the building’s exterior before it is built..."
Occasionally, entire cities, such as Milton Keynes, and more recently Gurgaon (India’s version of Silicon Valley) have been designed and built with marketing tactics almost as first principles. In Milton Keynes, an initiative to market the project as a ‘city in the trees’ resulted in planning guidelines which stated that no building was to be built taller than the tallest tree, leading to a low-rise mat plan. In Gurgaon, new homes for India’s emerging middle classes are sold on hoardings and billboards which explain why nearly all new housing in the vicinity takes the form of giant, gleaming towers: ‘Let the Skies Sense Your Arrival. Live. Every Moment’, reads a vast poster for the Upton-Hansen Architects-designed Michael Schumacher World Tower, depicting a hovering helicopter about to land. Another boasts ‘360 Degree Living, 100% Privacy’. In Gurgaon, towers have come implicitly to promise privacy and luxury - the lines between the built form of development and its simplistic marketing narratives are blurred.
Of course, such iconography is primarily aimed at the luxury housing market where often the only difference between what is being sold is the marketing itself. Like many goods in the luxury market, brand, perception and desirability are more important (and easier to manipulate) than intrinsic value, something the developers are well aware of. ‘Many residences can pamper you with luxury. Only the rarest few can refresh the soul,’ reads an advertisement for The Cascade, a tower built in Bangalore by Tata Housing, subsidiary of one of India’s largest multi-national conglomerates. What marketing enables there is to turn the architecture inside out, flipping traditional notions of public and private architecture as a sales tool. Increasingly, hoardings begin to function as a kind of architectural cross-section - where the Platonic ideal of the interior architecture, as an expression of lifestyle, is made publicly visible on the building’s exterior before it is built. Marketing showrooms, by contrast, take this inversion of public-private architecture to its logical conclusion by building the ‘lifestyle’ of construction hoardings in physical form. An apt example is the marketing suite of Neo Bankside, the £275m Rogers Stirk Harbour + Partners development for the Duke of Westminster’s property company, Grosvenor. A stand-alone two-storey mini tower-cum-marketing suite, it is built using the same cross-bracing and exterior cladding as the development itself. Elsewhere in London, marketing suites for the mid-market have seen the conflation of the showhome with longer-lasting amenities. At the construction site for Bellway Homes’ Pembury Circus development, large arrows on the hoardings lead the way to an oddly shaped, double-height marketing suite and sales showroom. While you might assume that these poorly constructed showrooms finish up on the slag heap of sales-suite history, at Pembury Circus, the marketing suite is billed to be ‘transformed’ into a long-term community centre. Its marketing becoming architecture in the most literal sense.
"While you might assume that these poorly constructed showrooms finish up on the slag heap of sales-suite history, at Pembury Circus, the marketing suite is billed to be ‘transformed’ into a long-term community centre. Its marketing becoming architecture in the most literal sense..."
If marketing suites and showhomes represent selling housing through the cracked lens of lifestyle, we can see the same thing happening elsewhere with the turn to statement architecture by luxury fashion brands and tech companies as a form of brand promotion. That Frank Gehry’s Guggenheim is now synonymous with the regeneration of Bilbao suggests that architecture and marketing were tethered long before the fashion pack caught on. Architecture has always been about creating narratives, which has perhaps made it all too easy to be co-opted by the narrative-weaving of marketing executives.
Consider luxury brand LVMH’s commissioning of a 54-metre-high UNStudio-designed flagship store in Japan, or the Fondation Louis Vuitton in Paris by Gehry (AR Nov 2014). The brand isn’t interested in a high-quality built environment: rather, LVMH understands how a futuristic architectural aesthetic can be used to peddle expensive perfumes and bags. Similarly, the Neo Bankside suite isn’t about selling the quality of design but a perceived lifestyle through carefully staged interiors perfectly pitched to appeal to the income, race, gender and tastes of the small group identified as target buyers.
Architecture and marketing have blurred into an unproductive muddle, detrimental to all but those who profit from uninformed consumer choices. But if marketing and its highly effective tactics could be harnessed for the good of the urban realm, they might become powerful allies for better cities. This would not be unprecedented: think of Bruno Taut’s utopian exhibition pavilions of the 1920s, which inspired a generation to build in glass - and which doubled as marketing suites for the German steel and glass industries. If we do not recalibrate the balance between commerce and public good, the future of design holds little more than lowest common denominator-driven showhome architecture for all.
Source: The Architectural Review
Getting decent sales results can be challenging. With so many ways to communicate it's not as black and white as it use to be. I mean, 30 years ago all you had to choose from was a traditional sales calls or in-person meeting. Should I call them or knock on their front door.
Then came the internet which opened up a whole new ballgame - email communication - and what a revelation that has been. And now, here we are in 2017 and the channels just keep growing.
The birth of social media has made a great impact on how we communicate and today there are more ways to contact a lead than I can count on my own two hands. There is one in particular that I find very effective, especially when it comes to B2B selling, and that's LinkedIn...
6 Creative Ways to Make Your LinkedIn Message Stand Out
Click HERE » To View the Full Article
Source: Hubspot Written By: Michael Pici
It's a bit of a read, but it's one of the top feature articles of 2016.
The last 10 years have seen enormous changes in the acceptance of commercial and institutional landmark signs, both static and digital, as well as urban and community wayfinding systems...
With that in mind, new research undertaken on behalf of the International Sign Association (ISA) and the Signage Foundation—a non-profit organization dedicated to expanding knowledge of the purposes of on-premise signage—has explored the various ways signs enhance cities’ downtown areas, helping to increase tourism, development and consumer spending. By reviewing the importance of different attributes of exterior landmark signs, this research study has compared the effectiveness of different approaches to create a clearer picture of how signs play an important role in their communities.
Click HERE » To View the Full Story
Source: SignMedia Written By: Craig Berger
Alfred Waugh, the principal of Formline Architecture in Vancouver, presented the "Indigenuity in Architecture" session at the Wood Design and Solutions Conference held on Feb. 28 in downtown Vancouver...
First Peoples House UVIC
Waugh detailed the Nicola Valley Institute of Technology, based in Merrit, B.C., as the basis for his firm's further work on wood projects.
It was decided at first to have two separate entrances, but a First Nations elder pointed out "we've been going through separate entrances for 200 years" so the design changed to one large entrance, along with a circular space in the middle of the structure.
Teepees were used in the Nicola Valley for hunting and fishing which are natural air funnels, and the climate elements of the building used that methodology as a design inspiration. Yellow cedar was also used in the building envelope.
Waugh also designed the First People's House at the University of Victoria, and he said the building's quadrangle shape is meant to integrate and blend in with the surrounding land.
"It's one of the few heavy timber buildings in the centre of the campus, surrounded by concrete buildings," Waugh said.
The building is meant to be a celebration of water, Waugh said, which is an important element to the Coast Salish people. Stormwater is handled on site and the lower roof is a green roof.
The idea of the building is to share culture as students and others walk through the building, Waugh said, and as such has been a success, with both First Nations and other students using the structure.
Longhouse design was another key point of inspiration, but it also worked as a way to enable displacement ventilation. The design allows for passive cooling and uses "100% fresh air." Computer fluid dynamic modelling was used to calibrate ventilation requirements to occupant load.
The main air supply is provided through a "ventilation totem" outside the building, which sends air down to the mechanical ventilation systems.
Wood, Waugh said, was used in the Nicola Valley structure through glulam columns supporting concrete structure.
"A forest of columns replaced the forest of jack pines we had to displace," Waugh said.
Waugh also worked on the Squamish Lil'Wat Cultural Centre, which is designed similarly to longhouses, and he said the building was meant to be inviting and a way to share culture rather than a "black box."
"We wanted it to be a plank house, but a transparent one," he said.
A hybrid post and beam system inspired by the plank house theme meant using paired glulam columns and beams joined by steel connectors and glulam rivets. It also used a suspended glazing system, which allowed for "shingled glass."
The First People's House on the UVic campus used an interpretation of the slotted post and beam connection for the Coast Salish Long House part of the structure, using glulam columns and beams.
Waugh highlighted the O'Siyam Pavillion in Squamish, which uses curved glulam to create a bandstand.
"It's an expression of the locale, where the mountains meet the sea," Waugh said, and the roof reflects that with its undulating shape.
Waugh also pointed to the Liard River Hot Springs in Liard River, B.C., a project where they were not allowed to use any electrical or mechanical elements. The project was a replacement of existing change room facilities and washrooms, but they made minimal impact during construction to preserve endangered snails in the area. There we no lights allowed, so the structure made use of natural light.
The Indian Residential School, History and Dialogue Centre on the University of British Columbia Vancouver campus is a building meant to highlight a dark period in Canada's history. The idea for the building was for the landscape to "penetrate" the structure, so that it blends with the land and provides areas for outdoor learning.
Source: Journal of Commerce / Blog
In Chicago, there’s a famous restaurant called Alinea. It’s one of only a handful of restaurants in America that have earned the coveted 3-star Michelin rating, making it one of the best restaurants in the world. But if you ask people who’ve dined there what makes it unique, most will tell you that, somehow, it’s not just the food.
Alinea is an experience. The food, artistic and delicious as it is, wouldn’t garner its full effect if each course (there are about 20 in all) didn’t arrive just in time, perfectly ordered, with each dish complementing the one before it and simultaneously enhancing the one scheduled to arrive next. There’s a natural flow to the meal -- a rhythm. Each course serves a purpose, like the individual instruments of an orchestra.
The end result is something enticing, captivating, and memorable -- and fun. Really fun. Most importantly, the end result sells people. It compels them to write glowing Yelp reviews. It makes Alinea the topic of conversation. The end result drives people back again and again.
As a marketer, if you want to sell people like a Michelin 3-star restaurant, you have to execute like one. In other words, you have to 1) produce something remarkable and 2) present it correctly, logically.
If you don’t know how to do that, here’s a proven copywriting formula that will guide you ...
Bob Stone's 7 Step Formula
Bob Stone was a giant figure in the advertising world. His colleagues called him “Mr. Direct Marketing” because he wrote countless successful direct mail pieces, selling everything from surgical dressings to business club memberships.
How did he do it? He had a trick: an adaptable formula made up of seven simple, logical steps he used to hook readers and keep their interest until the last line (at which point many readers did what he asked them to).
Stone’s formula -- referred to by marketers as “Bob Stone’s Gem” -- was originally used to write sales letters and other direct response advertisements. But in the decades since its invention, it’s been proven to work in virtually any type of promotion, from blog posts to landing pages to sales emails. Try it yourself and watch your response rates rise.
But first, let's break down each step. You'll notice that I've provided an example sentence (or two or three) under each to show how a copywriter might use Bob Stone’s Gem to create a blurb of copy (which, in this instance, is selling that beaut of a restaurant: Alinea).
1) Begin with your strongest benefit.
In the advertising world, features tell and benefits sell. That’s what makes Bob Stone’s Gem so compelling: it forces marketers to focus on and, therefore, highlight the benefits of their product, service, cause, program -- what have you. Of course, features should also be present in the promotion you create but, ultimately, they’re not closers. Only benefits are.
That’s why you have to sculpt your copy around a target persona, highlighting the benefits you know to be most important to her.
In this example, I’ll be writing to Foodie Francis, a married, middle-aged lawyer with two adult children. She loves cooking and is particularly fascinated by molecular gastronomy.
Let’s get started:
"Dine at Alinea, and join the I’ve-Eaten-the-Best-Food-in-the-World club."
2) Expand on the most important benefit.
Make your main benefit difficult to ignore by describing the actual positive impact it can make on your target persona’s life. Change your reader’s perspective. Plant a seed.
"A club that will open your culinary head, forever changing the way you look at food and, perhaps, even the way you understand ingredients."
3) Explain exactly (and in detail) what the prospect will get.
You’ve planted the seed, now water it. This is where you can drop some features. You can do so by painting a picture, which will give your reader something to visualize and gestate. Just don’t over-do it. Leave room for your reader’s imagination. After all, it exists for a reason ...
"At Alinea, dine on tempura-fried pheasant breast, while experiencing the delights of a Midwestern fall -- even if it’s January. At Alinea, eat an apple masquerading as a helium balloon."
4) Back up your statement(s) with proof.
By this point, your reader has given you her attention, time, and effort. But she’s not a sucker, you know. She’s a leery, 21st century consumer. And if she’s to be sold, she is going to need some proof.
This is your chance to flash some facts, statistics, testimonials, awards -- anything that’ll give credibility to your claims.
"At Alinea, experience the weight of 3 Michelin stars: the bites, the service, the art of it all."
5) Tell them what they’ll lose if they don’t act.
Bob Stone included this step because he knew that people are far more driven to avoid pain than they are to acquire pleasure. As a species, we’re constantly striving to prevent suffering and avoid discomfort. That’s why it’s important to incorporate some negativity into your copy.
"But if you choose not to make a reservation, rest assured you'll go on living, laughing, and loving like you always have. Nothing will change. And wouldn’t that be unfortunate?"
6) Sum up the most important benefits.
You just took your reader to the darkside, now bring them into the light again. Recap all those terrific benefits that captivated your reader in the first place, reminding her why she should pull the trigger.
This is your last opportunity to sum up the value your product or service will bring to the reader’s life. This is your chance to push the reader over the threshold, so make it personal and emotional for your target audience.
"Because beautiful and delicious and exciting as the Alinea experience is, it's nothing compared to what could be. It's nothing when pitted against the future -- your future -- after your mind is awakened to the potential of ingredients and the possibilities of food."
7) Present your call-to-action.
If you don’t ask your reader to take a specific action at the end of your copy -- if you don’t tell her what to do next -- you might as well have never written it in the first place. I don’t care how compelling your words have been, if there isn’t a clear next-step, your copy is almost certainly going to fail.
So keep your call-to-action simple and direct. Don’t force your reader to think.
"Be our guest. Reserve your table on our website, www.AlineaRestaurant.com, today."
The Finished Product
When stitched together, Alinea’s promotional blurb is short and sweet. Depending on the circumstances, it could be expanded or even shortened. But for the purposes of this article, I think it reads just right:
"Dine at Alinea, and join the I’ve-Eaten-the-Best-Food-in-the-World club.
A club that will open your culinary head, forever changing the way you look at food and, perhaps, even the way you understand ingredients. At Alinea, dine on tempura-fried pheasant breast, while experiencing the delights of a Midwestern fall -- even if it’s January. At Alinea, eat an apple masquerading as a helium balloon. At Alinea, experience the weight of 3 Michelin stars: the bites, the service, the art of it all.
But if you choose not to make a reservation, rest assured you'll go on living, laughing, and loving like you always have. Nothing will change. And wouldn’t that be unfortunate?
Because beautiful and delicious and exciting as the Alinea experience is, it's nothing compared to what could be. It's nothing when pitted against the future -- your future -- after your mind is awakened to the potential of ingredients and the possibilities of food.
Be our guest. Reserve your table on our website, www.AlineaRestaurant.com, today."
Is this copy going to sell everybody who reads it? Of course not. But then again, it wasn’t designed for everyone. It was designed for Foodie Francis, remember?
So, will it sell her? Perhaps. Nothing’s a sure thing. But thanks to Bob Stone’s Gem, I like my chances.
Written by Eddie Shleyner @VeryGoodCopy | Source: Hubspot
How to Get Unstuck
Why do people feel so miserable and disengaged at work? Because today's businesses are increasingly and dizzyingly complex — and traditional pillars of management are obsolete, says Yves Morieux. So, he says, it falls to individual employees to navigate the rabbit's warren of interdependencies. In this energetic talk, Morieux offers six rules for "smart simplicity." (Rule One: Understand what your colleagues actually do.)
Source: TED / Presenter: Yves Morieux
Everything Starts With An Idea
Here's a twist on Creativity and The Big Idea. Nothing is original, says Kirby Ferguson, creator of Everything is a Remix. From Bob Dylan to Steve Jobs, he says our most celebrated creators borrow, steal and transform. And how does copyright come into play. Embrace the remix.
Source: TED / Presenter: Kirby Ferguson
How to get your ideas to spread
In a world of too many options and too little time, our obvious choice is to just ignore the ordinary stuff. Marketing guru Seth Godin spells out why, when it comes to getting our attention, bad or bizarre ideas are more successful than boring ones.
Click HERE » for additional TED Talks to discover... Where Ideas come from.
Source: TED / Presenter: Seth Godin & Various Others