Who commits crimes Essay Example | Topics and Well Written Essays - 1000 words

Who commits crimes - Essay Example According to Wolfgang, Figlio, and Sellin, (1987) a small percentage of offenders commits a large proportion of criminal offenses. Stated in another way, there are only a few individuals who are repeat offenders or career criminals. The common perception of most people is that more criminals equal more crimes, but the theorists above have proven otherwise. Based on studies they have conducted, they advocate that only a number of crimes may actually be attributed to a few people. Their findings are important in the sense that they show the pattern of behavior that we can expect from potential career criminals. Their study points out that most of these career criminals come from a poor background, have a history of delinquency, and have a lower grade point average while they are in high school. In possibly understanding and curtailing criminal tendencies in potential career criminals, we look into the problem children in school. In the cohort study conducted by Wolfgang and his associa tes, they uncovered that many of the male offenders were arrested only once or twice, about 19% of the offenders were repeat offenders, and a very small percentage – about 6% were arrested 5 or more times (Wolfgang, 1972, as quoted by Spelman, 1993). Their study implies that we can unearth career criminals by looking into a small percentage of people in the criminal pool. They are the ones we need to worry about because the criminal justice system has become ineffective in rehabilitating them. In a big way, their time in jail may have actually made them hardened criminals. Their findings also indicate how important it is for us to identify and establish factors which may invite and breed criminal behavior. Simply looking into a person’s race, social class, gender, and age is not enough in order to predict criminal behavior. By tracing the pattern of behavior of one criminal, it will tell us a lot about whether or not he is a potential career criminal (Hagan,

A History of Pottery

A History of Pottery The production of pottery is one of the most ancient arts. The oldest known body of pottery dates from the Jomon period (from about 10,500 to 400 BC) in Japan; and even the earliest Jomon ceramics exhibit a unique sophistication of technique and design. Excavations in the Near East have revealed that primitive fired-clay vessels were made there more than 8,000 years ago. Potters were working in Iran by about 5500 BC, and earthenware was probably being produced even earlier on the Iranian high plateau. Chinese potters had developed characteristic techniques by about 5000 BC. In the New World many pre-Columbian American cultures developed highly artistic pottery traditions. TYPES OF WARES Pottery comprises three distinctive types of wares. The first type, earthenware, has been made following virtually the same techniques since ancient times; only in the modern era has mass production brought changes in materials and methods. Earthenware is basically composed of clayoften blended claysand baked hard, the degree of hardness depending on the intensity of the heat. After the invention of glazing, earthenwares were coated with glaze to render them waterproof; sometimes glaze was applied decoratively. It was found that, when fired at great heat, the clay body became nonporous. This second type of pottery, called stoneware, came to be preferred for domestic use. The third type of pottery is a Chinese invention that appeared when feldspathic material in a fusible state was incorporated in a stoneware composition. The ancient Chinese called decayed feldspar kaolin (meaning high place, where it was originally found); this substance is known in the West as china clay. Petuntse, or china stone, a less decayed, more fusible feldspathic material, was also used in Chinese porcelain; it forms a white cement that binds together the particles of less fusible kaolin. Significantly, the Chinese have never felt that high-quality porcelain must be either translucent or white. Two types of porcelain evolved: true porcelain, consisting of a kaolin hard-paste body, extremely glassy and smooth, produced by high temperature firing, and soft porcelain, invariably translucent and lead glazed, produced from a composition of ground glass and other ingredients including white clay and fired at a low temperature. The latter was widely produced by 18th-century Europea n potters. It is believed that porcelain was first made by Chinese potters toward the end of the Han period (206 BC-AD 220), when pottery generally became more refined in body, form, and decoration. The Chinese made early vitreous wares (protoporcelain) before they developed their white vitreous ware (true porcelain) that was later so much admired by Europeans. Regardless of time or place, basic pottery techniques have varied little except in ancient America, where the potters wheel was unknown. Among the requisites of success are correct composition of the clay body by using balanced materials; skill in shaping the wet clay on the wheel or pressing it into molds; and, most important, firing at the correct temperature. The last operation depends vitally on the experience, judgment, and technical skill of the potter. DECORATING TECHNIQUES In the course of their long history potters have used many decorating techniques. Among the earliest, impressing and incising of wares are still favored. Ancient potters in Egypt, Mesopotamia, Greece, northern India, and the high regions of Central Asia (where primitive terra-cotta figures associated with religious cults were produced) frequently decorated wares with impressed or incised designs. A notable incising technique developed more recently was that of Korean potters working in the Koryo period (918-1392). These artisans began by ornamenting their celadon wares with delicately incised and impressed patterns and later developed elaborate inlaying by filling incised lines with colored slip (semiliquid clay). Black and white slip was used most effectively for inlaying colored porcelains. Decoration of this sort generally depends more on the skill of the artisan than on the complexity of the tools being used. An especially popular type of decoration involved the sgraffito, or scratched, technique used by Italian potters before the 15th century. This technique, which is thought to have reached Italy from the Near East, was probably derived from China, where it was first used during the Song (Sung) dynasty (960-1279). By the 16th century Italian potters working mainly in Padua and Bologna had developed great skill in sgraffito, which entailed the incising of designs on red or buff earthenware that had been coated with ordinary transparent lead glaze, usually toned yellow or, sometimes, brown, copper, or green. After firing, the wares were dipped into white clay slip so that a dark pattern could be cut on the surface. By cutting through the white slip, the artist produced a design on the exposed red or buff body. Pigments were also sometimes applied. After a further coating of lead glaze the ware was fired a second time. A sound knowledge of glazesboth utilitarian and decorativeis vital to the potter. The origin of glazes and glazing techniques is unknown, but the fine lustrous glazes developed in China surely began with a simple glaze that served to cover earthenware and render it watertight. Chinese potters used two kinds of glazes, one composed basically of feldspar, and another produced by fusing silica of quartz or sand by means of a flux, generally of lead oxide. Chinese potters regarded glazes and glazing techniques as having prime importance; under the Han emperors they made great efforts to improve this technology. The use of lead glaze increased, and wood ash was incorporated to impart a dullish brown or gray green coloring, somewhat blotchy and occasionally iridescent. These effects were entirely natural, as no coloring matter was added to the composition. Glazing techniques were modified under successive dynasties. Colored glazes were developed and used to brilliant effect by Tang (Tang) and Song potters, and a great diversity of brightly hued wares appeared over the centuries. Many connoisseurs feel that the pure white porcelain, called blanc de chine, which first appeared during the Ming dynasty, is the most serenely beautiful of all Chinese ceramics. Dehua (Te-hua) potters in Fujian (Fukien) province, working during the 17th century, produced their blanc de chine masterpieces in the purest white porcelain coated with a thick white glaze. Salt glaze, used by English potters during the early 1700s, may well have been known to the Chinese but was not used by them. Near Eastern potters glazed wares in ancient times. Potters in Mesopotamia and Iran commonly used an alkaline glaze made of quartz mixed with sodium and potassium. An admixture of colored metallic oxides, mostly lead, was introduced later. Painting on pottery and porcelain became richly colorful in many regions and periods. Decorative brush painting directly on the baked clay reached its zenith in China during the Ming dynasty (1368-1644), whose artists were highly skilled at painting in fired colors. For a long period Chinese ceramic artists had used only black or brown pigment to decorate wares that were then covered with clear glaze. It is believed that the appearance in China of 13th-century brush-decorated wares from Persia sparked a change. These works, painted in blue cobalt under the glaze, inspired the brushwork of the Chinese and the resulting so-called blue-and-white style. Ming artists also excelled in painting over the glaze, using brilliant enamel colors. The overglaze technique, which evolved over two centuries, demanded correct preparation of the enamels, skill in application, and the proper (low) firing temperature. The overglaze enamel decorations executed during the reign of Chenghua (1465-87), which were never surpassed in China, incorporated flowers, foliage, and figure subjects against backgrounds of arabesques and scrollwork. Designs enclosed within dark blue outlines were filled in with brilliant color. Enamel decoration of superb quality was also executed in Japan during the Edo period (1615-1868) by celebrated artists and potters of the caliber of Kenzan, Kakiemon, and Ninsei. In the ancient Aegean the potters art developed continuously from the Neolithic period and through the periods of the Minoan and Mycenaean civilizations, culminating, in ancient Greece, in a unique type of painted pottery, which reached its height between the 6th and 4th centuries BC. The finest Greek pottery, especially Attic vases, was exquisitely proportioned and often decorated with finely painted relief work. Unlike artisans in Egypt, Mesopotamia, and Persia, the Attic potters did not apply heavy glaze to their wares. The unique gloss commonly seen on Attic pottery and similar wares made elsewhere in Greece still baffles those who have tried to determine its formula and method of application. Neither a glaze nor a varnish, it is more marked on some areas, such as those painted black, than on others. Some experts conjecture that it may be attributed to illite or a similar clay mineral in a weak solution that was thinly applied to the surface of wares or mixed into the black paint used by the artists. In the Islamic world ceramic decorative art flowered with the creation of a great diversity of painted wares. Painted luster decoration on pottery originated in Mesopotamia and spread to ancient Egypt; later, under Islam in Persia, this type of decoration on white-glazed wares became incredibly brilliant. Islamic luster-painted wares were later imitated by Italian potters during the Renaissance. MAJOR TRADITIONS IN THE WEST After the fall of the ancient Roman Empire potters in Europe produced little other than repetitive utilitarian wares until the end of the Middle Ages. Earthenware A distinctive type of earthenware known as majolica, which was derived from Chinese porcelain, appeared in Italy during the last quarter of the 14th century. It is now believed that this type of painted earthenware was inspired by the Hispano-Moresque luster-decorated ware of Spanish origin introduced to Italy by Majorcan seagoing traders. Majolica ware, whether thrown on the wheel or pressed into molds, was fired once to obtain a brown or buff body, then dipped in glaze composed of lead and tin oxide with a silicate of potash. The opaque glaze presented a surface that was suitable to receive decoration. A second firing after decoration fixed the white glaze to the body and the pigments to the glaze, so that the colors became permanently preserved. Frequently, the beauty of these wares was increased by dipping them in a translucent lead glaze composed of oxide of lead mixed with sand, potash, and salt. When certain luster pigments and enamels were used in all-over painting, wares had to be specially fired at low temperature. Application of metallic luster pigments required great skill because these colors were extremely volatile and needed special handling. Luca della Robbia (see della Robbia, family) did not, as has been held, invent the enamel tin-glazing process; nevertheless, his work raised majolica production from a craft to high art in Italy. Not only did he use blue and white enamels in decorative work, but, as a sculptor, he also used the majolica technique to add brilliance to the surface of his productions. By the beginning of the 15th century Italian potters had abandoned the old familiar processes, and a revolution in style and techniques was under way. The severe style as followed principally in the school of Tuscany continued to the end of the 15th century, but rules and principles slackened until the inclusion of human figures in designs, previously frowned upon, was accepted. At the end of the 15th century Faenza became the thriving center of a reinvigorated pottery industry in Italy. A new, rich decorative style, known as istoriato, fired the imagination of potters, reaching its zenith in the workshops of Urbino. In early 17th-century England attractive slipwares were produced, including the slip-decorated earthenware that was a speciality of the Toft family of potters. A kind of tin-glazed earthenware was also produced in the Netherlands, principally at Delft, beginning in the mid-17th century. Termed delftware, it was among the first European wares to be decorated with motifs inspired by Chinese and Japanese models. Continental Porcelains Eventually, European potters, who much admired the porcelain of the Far East, attempted to imitate it, but the formula remained elusive. Francesco de Medici, grand duke of Tuscany, produced an inferior type of soft-paste porcelain in his Florence workshop during the 16th century. In March 1709, Augustus II of Saxony announced that his ceramist Johann Bottger (1682-1719) had discovered how to make porcelain. The first European royal porcelain manufactory was consequently established at Meissen (see Meissen ware) near Dresden, Germany. Throughout the century following the discovery of the porcelain formulawhen, despite the utmost precautions at Meissen, the secret leaked outmany rival factories were set up in Europe. Germany, Austria, Italy, France, and England soon had factories engaged in the production of wares much like those of Meissen. Porcelain figures were first produced in Meissen as table ornaments; the earliest examples were formed as part of sweetmeat dishes. Many splendid wares issued from the royal factory, but none were more admired than the finely modeled and decorated porcelain figures imitated by almost every German, Austrian, Italian, and English factory of note. Widespread interest in figures of both pottery and porcelain has continued to the present. Johann Joachim Kandler (1706-75), a master modeler, was the most notable of the artisans engaged in this work at Meissen and rivaled the famous Franz Anton Bustelli (1723-63) of Nymphenburg (see Nymphenburg ware). The methods used to produce porcelain figures as developed by Kandler imparted a new dimension to the art. German porcelain figures were usually produced from molds, which, in turn, were cast from an original master model made of wax, clay, or, occasionally, wood. The use of molds facilitated unlimited reproduction. Because the figures shrank during firing, allowances had to be made in their sizes; they were also provided with a small venthole in the back or base to permit excess heated air to escape. Because different factories placed these holes differently, their positions help determine the provenance and authenticity of given pieces. When considerable undercutting was necessary, porcelain figures were usually made in sections, using separate molds. Portions of elaborate groups and single figures were later joined by a specially trained assembler (known as a repairer) who usually worked from a master model. Europes second hard-paste porcelain factory began operations at Vienna in 1717. In the late 1700s at the royal Sevres (see Sevres ware) factory in France, potters experimented until they developed a remarkably white, finely textured body. Sevres wares were painted in unique colors that no other European factory could duplicate. The bleu de roi and rose Pompadour of Sevres wares captivated all Europe and, with the products of Meissen and Vienna, inspired English potters. English Wares The finest English porcelainboth soft- and hard-pastewas made between about 1745 and 1775. The first English porcelain was probably produced at Chelsea (see Chelsea ware) under Charles Gouyn, but his successor Nicholas Sprimont, a Flemish silversmith who took over management in 1750, was responsible for the high-quality wares, especially the superb figures, for which the factory became famous. Factories at Worcester (see Worcester ware), Bow, and Derby also produced wares that rival those of the Continent. Led by the ambitious, energetic, and enterprising Josiah Wedgwood and his successors at the Etruria factory, English potters in the late 18th and early 19th centuries became resourceful and inventive. Wedgwoods contributions consisted mainly of a much improved creamware, his celebrated jasperware, so-called black basalt, and a series of fine figures created by famous modelers and artists. After Wedgwood, other potters of the first half of the 19th century developed a number of new wares. Of these, Parian ware was the most outstanding and commercially successful. The name of this ware was derived from Paros, the Greek island from which sculptors in ancient times obtained the creamy or ivory-tinted marble that Parian ware resembled. The first examples of this new product, described as statuary porcelain, issued from Copeland and Garrets factory in 1842 and were immediately acclaimed. Two varieties of Parian ware were produced: statuary parian, used in the making of figures and reproductions of sculpture, and hard-paste, or standard, parian, from which hollowware was made. Statuary parian, incorporating a glassy frit, is classified as soft porcelain. Standard parian, with a greater proportion of feldspar in the composition but no frit, is hard porcelain. Early parian statuary was ivory-tinted due to the presence of iron in the feldspar devoid of iron silicate. Suitable deposits were eventually located in Sweden and Ireland. Both English and American potters either obtained details of the original formula or worked out their own, and the resulti ng production of Parian wares on both sides of the Atlantic was enormous. Among the most beautiful and successful wares invented by 19th-century potters were those decorated in what came to be known in England as pate-sur-pate, a paste-on-paste technique devised sometime after 1870 by Marc-Louis Solon (1835-1913) of Mintons in England. Pate-sur-pate, involving both modeling and painting techniques, was stained Parian ware decorated with reliefs in translucent tinted or white slip, the colors being laid one upon the other. Solon was inspired by a Chinese celadon case decorated with embossed flowers that he had admired in the museum at Sevres, where he worked for a time. At first his slip painting on biscuit porcelain simply peeled off; he was successful, however, when he applied layers of slip to a damp surface. Minton wares decorated with pate-sur-pate became the most costly and coveted ceramic ornaments produced in England in the last quarter of the 19th century. Only a few English potters mastered Solons complex technique, although the work of his pupil, Alboin Birks, rivaled that of the master. 20th-Century Developments By the late 19th century, with the development of machinery and the introduction of new technologies, the age of mass production dawned and the potters art consequently suffered. Western ceramic wares declined markedly in quality of materials and decoration. Florid designs, gaudy coloring, and inartistic shapes became fashionable, and the resulting decadence continued into the 20th century. Not until the 1930s were signs of revival in the form and decoration of ceramics discernible, principally in the productions of artist-potters who were active in Western Europe and the United States. Many of these artist-potters arrived at their innovations by way of continuous experiment with materials and techniques. Others sought inspiration from primitive types of Japanese pottery or in the forms of ancient American Indian traditions. Since the end of World War II the design and decoration of ceramics in both Europe and the United States, especially ornamental wares, has been largely influence d by individual artist-artisans. Commercial products, such as tablewares, have tended to reflect the styles and patterns developed by these potters, whose work has often shown striking originality.

Compare and Contrast the Poetry of James Berry and John Betjeman, with

Compare and Contrast the Poetry of James Berry and John Betjeman, with particular reference to the Cultural Differences. Refer to at Least two Poems by each Poet James Berry's poems are written from the perspective of a lady named Lucy. Lucy moved to England because she had heard the streets were practically paved with gold there. She writes letters to her friend Leela in the form of poems. Lucy regrets her move to England in a lot of ways and finds it gloomy and cold. She misses Jamaica and doesn't really like London but she is too proud to admit that, so her letters also contain a number of positive yet vain sounding points about the advantages of living in England, such as, "An' doctors free." Lucy writes of how she has, "turned a battery hen," in the poem 'Lucy's Letters' because she feels trapped in London. She was used to a relaxed and friendly way of life in Jamaica so the culture in London came as a big shock to her. London is a lot bigger and much less friendly than Jamaica. In Jamaica everyone knows each other so Leela asked Lucy in a letter to her if she'd ever met the Queen. Lucy is used to the unspoilt beauty of the Jamaican scenery so London comes as a big change. She describes it to Leela as: "A parish Of a pasture-lan what Grown crisscross streets." In Jamaica Lucy could leave her door unlocked but write of how she can't do that in London: "I carry keys everywhere Life here's no open summer." She sees the lifestyle as monotonous because every day seems the same. She feels in some ways that she doesn't really belong in London. In the poem 'From Lucy: Englan' Lady' she describes the Queen as being, "Like she a space touris'," because she is somewhat alienated from the res... ...tional. Berry, however, uses Creole phrases and grammar in his poetry. In the poem 'Lucy's Letter,' Berry uses the phrase, " I long for we labrish bad," meaning Lucy longs to gossip without restraint. Berry uses figures of speech in his poetry unlike Betjeman. For instance, in the poem 'Lucy's Letter', Berry uses the metaphor, "I really a sponge" and in 'From Lucy: Englan' Lady,' he uses similes such as, " Like a seagull flyin' slow slow." Berry and Betjeman have very different writing styles, partly because of the influences of their very different cultures. Berry's easy going Jamaican upbringing is reflected in his poetry through his use of Creole and the structure of his poetry. Betjeman reflects his English upbringing through his regular, ordered stanzas. Although they are very different they both work very well and make for very enjoyable reading.

TMA from WOU

Corporate Finance (BBF304) TMA 1 (25%) Total Marks: 100% 1. Given the following weighted market value of stocks in your portfolio and their expected rate of return, E(Ri), answer the following questions. (30 marks) Stock Weighted Market Value (%) E(Ri) Gamuda 14 – 0. 05 Public Bank 37 0. 12 Petronas 24 0. 14 SapuraCrest 10 0. 08 Celcom 15 0. 06 (a) W hat is the expected rate of return for your common stock portfolio? (6 marks) (b) Critically discuss why most investors hold diversified portfolio. (4 marks) (c) What is correlation, and explain why it is important in portfolio theory? (5 marks) (d) The capital asset pricing model (CAPM) contends that some risks are diversifiable, but others are not. Critically discuss what is the relevant risk variable considered in the CAPM? In your discussion, provide ONE (1) example for the relevant risk. (10 marks) 2. What is the concept of Efficient Market Hypothesis (EMH)? Compare and contrast between three forms of Efficient Market Hypothesis (EMH) – weak, semi-strong, and strong forms. (10 marks) . Critically discuss TWO (2) evidence supporting and TWO (2) evidence against the Efficient Market Hypothesis (EMH). (10 mark) 4. There are three probable economic outcomes in the evaluation of stock A and B for the second half of 2012. Based on the following information, answer all the questions. (25 marks) State of Economy Boom Normal Recession Probability of State of Economy 20% 50% 30% Returns on stock A Returns on stock B 8% 5% 2% 20% 12% -10% (a) What is the expected rate of return for stock A and B, respectively? 9 marks) (b) W hat is the standard deviation for stock A and B, respectively? (9 marks) (c) Assuming that stock A and stock B have beta of 0. 8 and 1. 6, respectively. The expected return of the market is 8% and the risk-free rate is 5%. W hat is the required return for stock A and B using Capital Asset Pricing Model (CAPM) method? (4 marks) (d) Based on your calculated answer in part (a) and (c) above, which stock should you invest in? Justify your answer. (4 marks) e) Assume that you want to create a portfolio by investing in these two stocks; 50 percent in stock A and 50 percent in stock B. What is your expected return on this portfolio? (4 marks) 5. Compare and contrast Capital Asset Pricing Model (CAPM), Arbitrage Pricing Theory (APT) and Fama and French Three Factor Model (TFM). (13 marks) 6. In Malaysia, Cagamas is currently the sole issuer of mo rtgage -backed securities. Critically discuss THREE (3) contributing roles of Cagamas in the financial sector associated with property market in Malaysia. (12 marks)

Holt Renfrew Essay

Executive Summary Holt Renfrew, is high-end retail chain for designer fashions and cosmetics that imports their products from Europe, Asia and USA. They are facing some challenges regarding the size of their current warehouse and inventory levels. The warehouse is not big enough to accommodate all their inventory and as such goods are always scattered everywhere. They are also finding it difficult to track their orders, due to the fact that they do not have an updated Enterprise Resource Planning (ERP) system to help them track these orders. They follow up over the phone which is never accurate. For this reason, they hardly how much goods are coming in and what to expect at a particular time. This has also created an issue of stock outs. These issues need to be addressed to ensure customer order fulfillment. Different  options have been made available to help Holt Renfrew address these issues which are improving the physical structure of the warehouse by installing mezzanines, outsourcing warehousin g to a third party or building/leasing a new warehouse, modernizing their distribution process and human resource reallocation. Upon review of the different options, the most favourable one for the company would be to install mezzanines. By installing mezzanines, the physical layout of the warehouse will be increased and it will create more room for inventory. The new available space will accommodate the extra products, usually scattered on the ground as well as the ones that are usually sent to the secondary warehouse where unsold goods are kept. This will enable the company shut down the secondary warehouse and save that extra cost of leasing, since the newly installed mezzanine will now owned by the company. This will save the company a total cost of $540,000 per year that is used to lease the secondary warehouse in Mississauga. A proper and updated ERP system will also need to be installed for the company to keep track of their inventory records. The human brain is never as effective as machines when it comes to record keeping. This will produce accurate records so that the company knows exactly what to expect, how much to expect at any given time and will be able to provide equal storage bins for the products. This will solve the issue of clustered merchandizes scattered everywhere, causing health and safety hazards. Once these strategies are implemented, Holt Renfrew will enjoy continued substantial growth and business sustainability because they will now be able keep track of their inventory and store them accordingly. There will no longer be the issue of stock outs and customer fulfillment will be at the highest level. They will also be able to increase profit, while maintaining and increasing their market share. Situational Analysis Holt Renfrew is a high-end Canadian retail chain based in Toronto, Ontario. It was founded in 1837 as a hat and fur shop and is owned by The Wittington Group, headed by Canadian business leader Galen Weston. Tony is a new employee and will have to prepare a detailed plan that will identify the major steps he intended to take in his new position. He will do this well because new employees are more likely to introduce radical change into an organization than old employees. Peak sales for the company are in  March/April, July/August, and November/December but used publicity campaigns for promotion. This meant more advertising cost and less sales for Holt Renfrew for half of a year. There is need for marketing and sales improvement. The company has approximately 3,000 suppliers but only 1,000 are used in a typical year. Secondary warehouse was used to store items that were not sold in the store which is a huge waste of a whole 60,000 sq. ft. facility. There is no need for that additional facility since it increases direct and overhead costs. It should be eliminated. The DC is cluttered with merchandise everywhere, under conveyors and scattered across aisles. Tony considered three strategies: improving the physical structure and process flow in the distribution center, the modernization of distribution systems and business processes, and to reallocate human resources. He had to obtain goods from the companies international suppliers and quickly distribute them to their stores within Canada to gain competitive edge. It will be dangerous not to do anything about the issues the company is facing. Even though the company will save a little cost by doing nothing now, it will have long term effects because if they keep dissatisfying their consumers by not delivering their orders on time because of the issue of stock outs, and no space to put inventory, they will have a reduced market share, which is not good for any company. Recommendation It is my recommendation that mezzanines be installed in the current warehouse. This is the best option because it is the most cost effective, least expensive and less time consuming. Tony estimated that the cost of installing a 20,000 sq. ft. mezzanine to accommodate the inventory is $1 million dollars, which is much less than the cost of leasing/building or outsourcing. The current activities of the warehouse will not be disrupted and the geographical location will not shift. There will be no additional cost of marketing any new location and the mezzanines will be engineered to Holt Renfrew’s specs. Another important consideration is ownership, it will be owned and operated strictly by Holt Renfrew. Once there is a mezzanine installed and more room to store inventory, health and safety concerns will be reduced because the products will be stored perfectly. Tactical Improvements A project team should be set up that will oversee the installation of the mezzanines over the period of installation. Mezzanines should be bought from ArcForce Mezzanines. They are manufacturers of this product which makes their own price cheaper than most other dealers. Their skilled staff will assist the project team from the project conception through completion with insight, experience and engineering integrity. The design engineers will customize any steel mezzanine storage system to meet Holt Renfrew’s warehouse requirements. Once purchased, work should begin immediately and installation should get started. After the installation is complete, management will need to constantly follow up and inspect the mezzanines regularly to ensure it is utilized effectively, and maintained. Conclusion Holt Renfrew has faced several issues regarding their stock keeping unit. This has led to stock outs, delivery inconsistences and lack of space in the current warehouse due to bad record keeping. However, from the recommendation given above, this issue will be resolved but not completely, giving the warehouse enough room to store their inventory. Once the mezzanine has been installed, the next action plan should be to get an up to date ERP system that will enable the staff keep proper record and track of their inventory. If the mezzanines are built and there is still no proper track kept, the issues will not be solved completely. They will still be unsure of their inventory supplies. The complete solution will be to install the mezzanines and then immediately after, update the ERP system. Bibliography Ivey Case Study- Holt Renfrew. (2012) StudyMode.com. Retrieved from http://www.studymode.com/essays/Ivey-Case-Study-Holt-Renfrew-937118.html Hi-Cube Blog (2013). All about Structural Mezzanine. Retrieved from http://blog.hicube.com/blog/bid/280503/All-about-Structural-Mezzanine ArcForce Mezzanines (n.d). Custom Steel Industrial Mezzanines -Direct from the Manufacturer! Retrieved from http://www.arcforce.com/default.htm