As seen in Part 3, for
all the wholly understandable moralistic bemoaning of its detractors,
it must be understood that Capitalism is a notionally rationally
optimised socio-economic system; apparently guided by the 'invisible
hand' of Adam Smith. Though of course whilst EM Capitalism still
demonstrates its powerful effectiveness, ever since the 2008 financial crisis
Western Capitalism has, and continues to be, supported by major
intervention of fiscal agencies.
Detractors then must instead recognise that negative experiences derive from the
endemically entwined social, institutional and propagandist
structures of any and all socio-economic systems.
The Ideal of
Philanthropic Capitalism -
(As Part of a New
Economic Era)
Thus Capitalism's
detractors should instead look to the specific negative actions of
the system's most powerful self-serving actors, and instead of
wailing against an 'ism', preferably seek to ensure that through
whatever practicable means, that such participants maintain a moral
code by staying within touch of the broad populace, instead being “a
world apart”. This better social balance perhaps best illustrated
by the prime participants (wealthy families and individuals) of
Nordic-Saxon Capitalism, from Sweden's Wallenbergs and Ingvar Kamprad
(IKEA) to Germany's Quandts (BMW). Of note is IKEA's holding company,
set up as charity, yet using tax minimisation and anti-takeover tools
to boost the social influence of the mixed commercial and charitable
enterprise.
Recognition of the
ongoing socio-economic severity for many across Britain highlights
the importance of the debate about exactly how UK economic
reconstruction should continue. Prior to the Conservative-Liberal
Coalition gaining power, the Tories looked to Scandanavian Fiscal
policy for partial guidance. Today then, as the election looms,
perhaps time to promote broader aspects of the Scandanavian social
approach, especially that akin to IKEA's social conscience. Such a
model would obviously maximise the positive tailwinds of QE directed
through commerce and counter-act the 'austerity' headwind of reduced
public spending.
[NB the recent events
reported in Copenhagen are sadly more harmful to the social unity of
the indigenous Christian and secular Danes, than actually for
apparently 'victimised' jews or 'dis-enfranchised' muslims. This so
given the proclivity for generally fair-minded Danes to inevitably
“pick a side” (in the millennial-old battle) out of a sense of
empathised injustice. However, outcomes could all too ironically
create fractures within what has historically been a very unified
society. And could possibly even eventually generate home-grown
reactionaries (akin to Norway's Anders Breivik) whose actions were
born directly from concern about foreign-influence and associated
“values fragmentation” of his historically more isolated yet
generally more honourable society].
Nonetheless, it is the
inherent fairness of the historic Scandinavian social attitude, still
very prevalent today, which has the greatest role to play in the UK
today.
Britain's Ongoing
Transformation -
As the BBC continues to
reshape so as to befit both 'corporation' and “.co.uk” monikers,
and likewise the NHS continues its seemingly traumatic journey of
cost vs efficiency rationalisation, the most recent call for national
enterprise vision has come from the civil engineering sector, seeking
the creation of an 'Infrastructure Manifesto' by which energy,
transport and habitation may be optimally directed so as to attract
investment and provide something akin to a necessary 'national
operational template'.
As previously detailed
in Part 2 with mention of the Technical Strategy Board / InnovateUK,
since the mid-2000s the nation's manufacturing sector has, from both
the annuls of Whitehall and “the Regions” philosophically
undergone its own epiphany. Whereby very necessarily it has been
recognised that Britain must continue to progress itself further up
the economic 'value-curve'; more broadly deploying those leading edge
capabilities across research, engineering, production, distribution
and (B2B / B2C) retailing. The phrase 'High Value Manufacturing'
(HVM) now an increasing constituent part of the economic expansion
discussion.
Four Pillars of HVM -
For the period of this
post, the accompanying graphic depicts what are perhaps the four
socio-technical elements required to, from 2015 onward, provide
Britain with the impetus for economic fruition.
Previously
investment-auto-motives described how for all the importance of a QE
enabled “Phase 1” physical re-construction era in infrastructure
– and beyond the still enormously vital role of the service sector
(both public and private) - a great portion of future “Phase 2”
economic prosperity will rely upon the en mass ability to embrace,
utilise and further development a wide range of intellectual,
practical and organisational capabilities which pertain to a wide
spectrum technical advancement.
Moreover, such
technical advancement in visible, tangible, physical guise would very
probably gain from far greater respect for the additionally
interactive and contributive skills of the capable crafts-person and
indeed (as applicable) artist.
In this way, future
premium, future luxury, future eco and future cyber orientated
products gain not simply the market advantage of increasingly
'magical' technical prowess, but also - as warranted by product type
and business-case – the addition of inherently value-enhancing
“human connectivity”.
In this way technology
is demonstrably seen to serve humanity, not vice versa, so
re-directing the notion that humans continue to become
psychologically enslaved by all that is connected to their own
cognitive detriment.
“March of the Makers”
-
Ambition for renewed
'economic reach' – which includes a thus far a generally lacklustre
“March of the Makers” (given multi-sector restructuring) -
consists of investor, managerial, labour and plant capabilities
directed at both the UK's domestic requirements and its comparitive
international industrial competitive advantage.
Very simplistically,
the “four pillars” enabling 'economic reach' relative to 'HVM'
are:
- Business “Nounce”
- Enthusiasm and
Tenacity
- Multi-Aspect Advanced
Engineering
- 3-D Precision meets
Arts-Crafts
Personification and
Example-
Business “Nounce”:
The 1990s rise of EM
regions and simultaneous leveraging / gearing of the world's capital
markets – largely situated in the West – created conditions by
which resultant waves of liquidity (even after the burst bubble of
the late 1990s dotcom boom) forever sought to plough that accumulated
cash into “the next big thing”. As the promise of mass audience
monetisation grew within that era of www-mania fervent 'animal
spirits' overtook rationality, as anything and everything with a half
plausible business model was financed in the expectation that the few
big-win enterprises would more than off-set the losses incurred by
failed start-ups.
This mania, though to
an admittedly lesser degree, also took hold across mainstream
financing of conventional business, with high street banks filling
the newly created roles of 'Business Advisors' with young, minimally
trained and sometimes commission pay-enhanced staff who in reality
had never spent time with, let alone properly appreciate, the macro
and micro complexities of SME firms.
Liquidity and so credit
then wholly disorientated what had traditionally been an overtly
conservative lending system which had previously matured over the
preceding centuries with old-style business methods and perspectives.
Booming world markets
across most regions and sectors appeared to be the “investor's
oyster”, with even those under-performing sectors and associated
assets considered ripe for transformation with business model
modification. When one business idea was seen to “fly” less
attention was drawn to the manner of its detailed execution than its
“concept”, in turn creating a mania based upon ever more abstract
hyper-reality. Increasingly lax lending attitudes spread across the
broad spectrum of commerce; especially so where banks were happy to
secure lending for the asset-rich middle classes seeking
“alternative” and “personally enriching lifestyles” in
business, ranging from going “all-in” into a capital intensive
new SME venture (eg micro-brewing), to the turnaround of failed local
businesses (various), to the scaling-up of a hobby business (eg
home-kitchen cookery).
In short, the critical
element of “business nounce”, which had provided systemic
stability for generations, became increasingly conspicuous by its
extended absence.
After the social tone
set by the heady heights of the dotcom era, the word 'investment'
itself became very much muddied and applied all to easily to give the
impression of value, from business schemes which are little more than
high-odds gamble, to uttered fast and loose in the everyday 'sales
patter' of home-shopping TV presenters, lifestyle councillors,
etcetera.
The first appearance of
the TV series 'Dragon's Den' crystallised that zeitgeist, though
thankfully also highlighting the harsh strategic, tactical and
operational reality of the business world. (Its Japanese originators
and producers far more “business savvy” than most of the
entrepreneurial candidates; as witnessed by its successful
international licensing and replication).
Instead, for the
necessary reality check of commerce we should look to a very
different TV show; one which aired during the early 1980s and
produced by Yorkshire Television. Yorkshire itself a region
undergoing major structural change during the period, as old family
firms in declining industries continued to flail and were about to be
publicly supplanted by a crop of new IT related businesses which
espoused the new communications era (ie fax machine, mobile phone)
and the shared-wealth promise of British Telecom's stock-market
listing.
Though light
entertainment humour in style, it offered over-egged but essentially
'real-world' content; content all too familiar to the SME business
owner. The kinds of people who survive and possibly prosper using
either their handed-down or hard-earned “Business Nounce”.
'The Gaffer' was
personified by the fictional character Fred Moffatt, owner of 'Moffat
Engineering Co', a small business situated within the Victorian back
roads of aYorkshire town. He represents what might be called the
'canny grafter', someone who constantly assessing any given situation
to turn challenges into opportunities. Episode plots demonstrate his
pro-business yet cynical attitude, itself honed through experience.
Critically he honed the ability to think laterally when dealing with
issues; whether unionised staff demands, client prospecting,
operational problems in order book fulfilment, dealing with the (olde
worlde) bank manager etc.
He drove a battered old
Rover P6 ( itself a nod to innovative engineering) and wore a
battered old brown trilby hat (which itself might be analogous to the
many “coloured hats” which must be worn by Edward de Bono's
interpretation of a 'lateral-thinker')
His skill, though
seemingly Machiavellian in appearance, was actually the ability to
recognise the nub of a multi-faceted situation and orchestrate
'win-win' outcomes for himself and any 3rd party. With disdain for
bull-shit, showiness, officialdom, social heirachy and pretence, he
represented the pragmatic realist who was very much needed during the
dark-times of the early 1980s.
Even though he was
scruffy in appearance, the fact is that Fred Moffatt highlights the
personality traits that UK plc requires at all levels of commerce and
finance, from market stall holder to blue-chip CEO, from the small
business lending managers of high street banks to the CFOs of utility
and investment banks.
The character's golden
quips abound, full of essential wisdom; such as when speaking about
what he views as an inadequate council leader states: “its usually
the man in the crow's nest who is last to know about the hole in the
hull”.
The more Moffatt-type
business acumen prevails in private and public spheres - though
ideally without his gruffness - the more sound UK private industry,
the public balance-sheet, and overall general investment would be.
Enthusiasm and
Tenacity:
There still exists a
perception that Britain often fails to develop and commercialise its
home grown inventions, and that its own dedicated technology
districts – from Cambridge Technology Park to the newer “Silicon
Roundabout” - demonstrate that a singular business success story
(around which the hub was essentially created) whilst attracting new
entrants fail to create truly synergistic commercial relationships.
Instead such tech-districts become populated by conventional firms
which either seek to appear “tech-trendy” or who have simply
negotiated a cheap per square foot rental rate, filling the
occupational void of over-capacity, in the absence of suitable
corollary firms.
There is an undoubted
truth to this, given that when compared to the American model,
funding comes not from individual billionaires, multi-millions or
similarly funded syndicates who are able to swallow the often lengthy
overhead losses of incurred by such premises, but from from far more
stringent domestic funders: whether 'Boot-Strap', (small-time)
'Business Angels', fixed-income lenders or other traditional sources.
This fundamental US-UK
difference engenders very different start-up and broader business
environments and so consequentially a direct impact upon a founder's
everyday outlook. This best illustrated through the often very real
stereo-type of verbose American vs cautious Brit.
[NB a relatively recent
FT column highlighted the perversity of such an optimistic, often
ungrounded attitude with innate associated 'permission' to fail, in
the mass gathering to celebrate of failure! Of course it may well be
the case that at a higher level, the backers of that business simply
sought to transfer the tangible results of that failed business into
another venture for their own gain].
Hence the caricatures
of US vs UK entrepreneurs abound, the latter very probably seen
lacking “get-up and go”. Yet this is clearly not the case,
especially amongst the well educated, monied and connected who seek
to build their own dynasties and not simply rely upon parental
wealth, and likewise amongst 2nd/3rd generation
immigrants who, propelled by admiration for their own parents efforts
and achievement, likewise feel almost obliged to succeed. Beyond
these two groups are the sons and daughters of generational business
families – a portion of the “UK Mittelstand” which whilst
comfortable also works hard to be so – who parents were perhaps
personified by Fred Moffat above.
But no doubt, because
Britain is an innately different society – with a different
establishment construct – it appears less cohesive than the USA,
but these 3 very different entrepreneurial groups share a more subtle
British version of “Can Do” enthusiasm.
If Fred Moffat
reflected the parental generation, then in a different way Guy Martin
reflects their generation through his charming, colourful yet also
importantly very modest, unassuming but extremely ambitious manner.
His ambition seemingly wholly self-directed (ie performing for
himself) not akin to the all too common negative competitive streak
of rivalry.
In a period when
Britain requires industrial impetus, technical fascination and
commercial progress since 2011 Guy Martin has been publicly and
perfectly moulded as the poster-boy given his friendly persona and
characterful “mutton-chop” whiskers.
Born at the time 'The
Gaffer' was broadcast, he originates from the Lincolnshire town and
port of Grimsby, the son of a HGV mechanical fitter and amateur
competition motorcyclist, Martin (as with his brother) followed
directly in his father's footsteps, becoming known for his
semi-professional motorcycling prowess (such as the Isle of Man TT)
and critically his fascination and enthusiasm for vehicles and
machinery. (To this end he appears a modern spiritual successor to
Yorkshire's Fred Dibnah, though far more closely related to the
Victorian / Edwardian era).
His public persona was
one created so as to connect modern Britain with the somewhat
forgotten legacy and pride of yesteryear's heavy engineering (as
directly illustrated by Dibnah), through the affiliation with 'sexy'
and technically absorbing performance motorcycles; which themselves
tend to be icons of advanced engineering.
This achieved by
initially introducing him (and his friend) to the mass public through
the TV screen in the recreation of yesteryear manufacturing
techniques for the rebuild of an aged canal boat (see 'the Boat That
Guy Built'); thereafter public attention drawn to his previous and
ongoing IoM TT / Ulster GP / NW200 racing victories and performances;
and thereafter the TV shows: “How Britain Worked” looking at
various bygone engineering/construction techniques, thereafter
“Passion For Life” and “Spitfire”, “Speed with Guy Martin”
and latterly “Our Guy In India”.
The pertinent point, is
that even though a TV celebrity - and so obviously managed by others
as such - to the broad masses, and no doubt to himself, he seems “his
own man” with “his own mind”. Combining engineering empathy and
talent with realistic pragmatism, directed enthusiasm and stubborn
tenacity.
Importantly, he has
been effectively promoted as the 'celebrity everyman'; by which the
very spotlight of fame, recognition and reward has been re-directed;
away from the 'high celebrity' of film stars, pop singers and even
footballers and towards the everyday world which the notion “average
lad” occupies.
The point is that even
though, as a professional motorcycle racer and TV star, his actual
life and personal experiences are wholly removed from those of a
typical HGV-fitter, the partially media-manufactured Guy Martin is
himself a product of “high value media manufacturing”, so as to
enthuse broad swathes of the less academically inclined younger male
and female populace.
It is this innate
persona- itself very real even if somewhat 'TV franchised' - then
emanates and reflects Britain's much needed “Can Do” spirit.
Multi-Aspect Advanced
Engineering:
The Socio-Economic
Context...
Since the pace of
progress seen by the “white-heat of technology” in the 1950s (ie
computing, nuclear and space-travel) the term “advanced
engineering” itself has become somewhat of an anathema to the
general public as engineering and manufacturing largely disappeared
from the national radar.
Sixty years ago people
could visibly view the pace of progress as jet engines replaced
internal combustion engines and propellers on airliners, and
computers in large organisations were slowly adopted to replace a
previous generation punch-card machines for calculation purposes.
Progress transformed industries more so than lives directly and so
the experience of the everyday for most appeared to alter at analogue
pace, almost as if passing years were akin to the sweeping hands of
the clock. Moreover, there was a real tangibility to much of the
surrounding world, given the overtly practical and naturalistic
mindsets and capabilities of the British population whereby fathers
of whichever 'class' typically had a practical bent handed down by
their own fathers, by trade or self education. Likewise for women in
the handicrafts, from general clothes repair and knitting to
self-creation or adaption of house-hold items (curtains,
table-clothes etc) to the bygone craft of artistic hand-stitching.
Thus most of the
British population, across the class divides, had some form of
practical skill, and with that an appreciation (at what ever level)
for the manufactured goods which surrounded them, from sewing machine
to the automobile.
However, as
increasingly specialist scientific and technical disciplines grew so
that direct tangibility became ever more distant. The introduction of
unfathomable computers in offices, the digital calculator in 'basic'
and 'scientific' guises and the digital watch and effectively
overlaid a new realm of technological existence by the early 1970s,
such 'futurism' abetted by modernist and space-age inspired
environments, creating an exciting leap into a little understood but
'magical' future which held great sway with a western mass populace
during the then economic down-turn.
Yet unlike the
inspiration for the original (post WW1) 'Futurists' who deified the
social power of understandable mechanics (ie cars, planes, factories
etc), 'digital futurism' was far less comprehensible to the masses.
Moving from the crystal-pulse age and into the contemporary digital
age has resulted in the broad population becoming entranced yet
ignorant of technology; in effect its all to foreign clients.
Given its apparent
“high-science” incomprehensibility to the average westerner,
itself the result of 'digi-tech's' migration to Japan and later
S.Korea relative to their own economic growth templates,
unsurprisingly western social focus was gradually drawn away from
science and technology, whereas Japanese and S.Korean populations
became increasingly absorbed
As is well recognised,
instead western orientation was toward those activities seen as
'up-stream' and closer to the 'wealth source' itself, in the
service-sector arenas of finance, retail, property development, IT
systems, and a wide spectrum of more human-centric 'people-soft'
general services from private security to ever more notionally
accredited 'health professionals'.
And given an
increasingly media and information led societal existence, with a
concomitant self-fulfilling high profile and so impact, even those
broad range of everyday general services – the true economic
stabilisers of the national economy - have for the most part been
very much over-shadowed by an out of proportionate social focus on
those 'culture industries'.
It must be recognised
that those 'culture industries' (TV, film, theatre, advertising,
video games and internet-based) themselves typically operate with a
comparatively high-cost base which is heavily amortised over domestic
and export markets, and given the “created value” from mass
audiences view themselves as positioned high up the value-curve; even
heavily reliant upon the mid and low order domestic and foreign
digital technology makers. The irony today being that so much media
programming has been created that even those once considered mundane
everyday commercial activities, from truck driving to the junk-trade,
have been given glossy TV make-overs and fictional excitement.
By the 1990s much of
that which is considered 'digital engineering' quickly followed the
mechanical route to lower cost production regions, with only some of
those activities seen as most important to the creative process
retained domestically. These being the 'high-end' of vision and audio
modelling, mixing and compilation.
Thus, for all the good
work of the previously mentioned Technical Strategy Board, and its
associated efforts in boosting next-generation technologies, in
actuality more industrial capability may have been potentially lost
by the UK than is recognised - beyond the usual cries about lost
“heavy-industry” and “light engineering” - compared to the
obvious leading lights of Germany, Japan and S.Korea.
So inevitably for the
UK, the ever broadening, ever re-morphing arenas that might be termed
'advanced engineering' became increasingly distant, and so hidden,
discipline(s) to the vast majority of British people. With likewise
seemingly a forever smaller proportion of ever growing the
post-graduate populace educated in specific and conjoined 'advanced
engineering' disciplines.
This reality had become
recognised by seniors in industry and academia some time ago, salt
metaphorically rubbed into the British wound as paradoxically,
emergent words and phrases such as 'cyber' to 'nano' became
increasingly engrained in everyday usage with little true
understanding, yet giving an outward impression that swathes of
modern people are tech-literate, when obviously not so.
The Academic and
Commercial Context...
It is little wonder
then that seemingly of the various dedicated Technology Parks set up
in the mould of the original Cambridge model have gestated and
incubated so few truly advanced, high-value enterprises. Instead such
locales themselves housing those 'under-formed' and 'over-formed'
occupants which sit either side of the technology development “Valley
of Death” (to requote the Technology Strategy Board's metaphor).
Either so small as to still be very exploratory and so typically
academically/governmentally / externally funded, or conversely, the
research-development function of an established large company, often
drawn by advantageous leasehold rates and periods.
Furthermore, in need of
occupants to furnish income and appear the hive of activity intended,
often what may be termed as conventional SMEs will take up residence.
Thus Technology Parks are themselves caught between original local
and central government high ideals and the reality of the property
marketplace.
Though typically
mistakenly associated with Cambridge Technology Park, the
poster-child of UK high-tech enterprise that is ARM Holdings plc
actually originated from and is still head-quartered in the
Peterhouse Technology Park, also obviously in Cambridge.
The difference between
the early days of ARM and other latter incubated ventures across
town, was that ARM (Advanced RISC Machines) was effectively under the
wing of the very well funded Apple Computer (now Apple Inc) and its
then partner Acorn Computers. Hence it was a combination of continued
strong funding from above (as part of a strategy jigsaw ) and what
appears an “in perpetuity” low cost residence agreement with
Peterhouse College which supported ARM's birth, growth and continued
success.
Given far harsher
commercial realities faced by most, such 'examplar' instances are
invariably far more the exception than the rule in Britain for very
good reason, with the more exposed commercial climate of the typical
Technology Park apparently unable to assist what to date may have
been credible new research enterprises. Consequentially, and in stark
contrast, it is no surprise then that for the vast majority of newly
formed advanced technology companies without such protective 'harbour
walls' and 'constant liquidity levels' that to date failure has been
the norm.
Instead, in Britain far
more expectation, and indeed reliance, has been sought from those
blue-chip players in well established sectors.
Looking forward from
the TSB's findings it will continue to be the likes of Automotive,
Aerospace, Computing and Software, Optical, Pharmaceutical and
Chemicals which are financially strong enough, able to provide
protective environments and obviously have the incentive to drive
forward UK innovation, including 'advanced engineering' and 'high
value manufacturing'.
Yet even these
seemingly structurally strong firms face challenges, perhaps most
notably a national education system which invariably to date
proportionately reduced focus upon innovation, engineering and
manufacturing. Thus in the modern era there has been a dearth of
previously well honed new young entrants (at 16+, 18+ and even 21+)
for those available research and development environments, whether
academic or corporate, which themselves gradually experienced
declined investment levels as the prime investment monies sought
greater near guaranteed returns through the consumer and business
boom of the 1990s and 2000s based upon the commercialisation and
'monetisation' of previous research work; especially so in IT.
[NB perhaps the only
environment which did not suffer, with the financial means and
environmental stability, was Silicon Valley, which itself went from
strength to strength].
Nevertheless, British
blue-chips have sought to maintain and eye on tomorrow, by either
working closely with academia (from individual PhD projects to the
internal 'commercial bridging' functions within universities.
Examples being the likes of:
Birmingham University's
'Advanced Manufacturing' Centre :
Competencies...
- Computer Aided
Engineering
- Laser Processing
- Intelligent Robotics
- Micro-Engineering
- Nano-Technology
- Non-Conventional
Machining
Birmingham University
is one of the TSB's 'Catapult Centres' with the AMC specialising in
material removal processes, whilst the Metallurgy and Materials
Centre, and Chemical Engineering Centre promote 'additive' materials
processes. The Manufacturing Technology Centre, a dedicated site
acting as a prime 'industry bridge' is located at the new Ansty
(Technology) Park in Coventry.
[NB having recognised
the commercial necessity of mixed-use business parks Ansty Park has
welcomed in an administrative function of Sainsbury's supermarkets
and latter stage office buildings].
Warwick University's
Innovative Manufacturing and Advanced Materials Centre :
Projects...
- High Value
Manufacturing
- National Automotive
Innovation Campus
- High Value / Low Eco
Impact Manufacturing
- Bio-Tech
Manufacturing
Warwick likewise acts
as a 'Catapult Centre' for the TSB.
Fortunate then that it
is often the older industrial realms, those central to economic
development over the late 19th and early 20th
centuries (ie automotive, aeronautical, construction) which have
provided an engineering continuity and so, in comparison with
digi-tech, enabled a far stronger societal connection and thus public
appreciation for conventional engineering, which in turn has links to
aspects of 'advanced engineering': across materials, construction,
and propulsion.
Parts 1 and 2 of this
web-log illustrated those 'leading lights' that help to make up “UK
plc”, such as Rolls-Royce plc, BAE plc, Ricardo plc, their
respective plethoras of domestic supply-chain firms, the might of
motor-sport engineering and niche vehicle producers, aswell as those
new ventures which have gained increased exposure through TSB
funding.
Hence, though it has
undoubtedly lost ground in specific disciplines to those more
techno-centric economies elsewhere, and has seen some of its domestic
sectors (eg locomotive and carriage building) effectively superceded
by foreign firms (ie Hitachi and Bombardier), nonetheless Britain
quite obviously still retains a powerful and highly competence
engineering base. Indeed it has expanding in specific sectors such as
eco-mega-tower architecture (ie Foster + Partners), and though far
less visible the realm of domestic habitation should also be
recognised for its 'leapfrog' eco examples.
[NB However, generally
the UK has been far slower to advance than the likes of Germany or
Scandanavia. This technical drag because of the triple forces of: a)
failed examples of past progress (ie pre-fabricated concrete towers),
b) British cultural predeliction for 'olde worlde' styles and
methods, but critically c) the very economic model for popular
housing itself endemically “value-laden” in materials and labour
of 'the trade'].
The Technical
Context...
An overtly broad yet
'catch-all' summary of those individual and combined disciplines
which comprise the expanding world of “advanced engineering” is
much needed; so as to provide a more rounded appreciation.
For the duration of
this weblog the accompanying graphic (return / scroll-up to top)
provides an overview. The lower left quandrant of the Union Flag
backdrop presents a 'snap-shot' diagram.
The prime historical
individual technology disciplines of Mechanical Systems, Electronic
Systems, Control Systems and Computer Systems are shown wholly
overlapped in Venn Diagram style. This overlap used to illustrate the
central idea of broad 'Mechatronics'. Likewise there are intermediary
overlaps between these categories which may be viewed as distinct
mutual junctures. These being respectively: Electro-Mechanics,
Control Electronics, Digital Control Systems and Mechanical CAD.
A selection of those
commercial sectors which deploy these systems are shown at the
circumference of the roundel, including: Materials (Handling and
Processing), Manufacturing, for sectors such as Automotive,
Aerospace, Defense, Medical etc. Not shown is Logistics and
Distribution, which with applications such as the identity-scanning
QR Codes, has itself been a prime driver of intelligent control
systems.
Though the diagram is
itself of older style and content, it was specifically chosen by
investment-auto-motives as an apt visual vehicle to demonstrate how
the control systems previously researched, developed and extolled
within the innards of business will slowly but practicably become the
systemic enablers behind “the internet of things”.
[NB Albeit with
undoubted experiences of failed specific technology lifetimes (ie
convenience vs complexity vs cost vs competition: akin to Betamax vs
VHS video wars, or indeed decline of Kodak vs numerous phone-camaras
and dedicated digital SLR camaras)].
Two obvious examples to
date being:
a) the redeployment of
QR code graphics squares initially from Toyota's inventory management
of car-parts to its use as information short-cut in a 'virtually
enhanced', smart-phone based digital world.
b) the potential of
electronic cart guidance systems transplanted from factory-floor to
central urban districts for the scheduling and routing of short-hop
“driverless personal pods”.
Whilst the control
systems are ostensibly invisible, very visible of course are, and
will be, the objects (and object assisted services) directly
experienced by people.
Just as seen with the
evolution and periodic re-invention of the car (- from Benz prototype
to Panhard packaging, to Ford Model T re-confuration and use, to
original Mini efficiency, to latterly dedicated eco BMW i3), so
obviously the very physicality of the objects themselves will
continually progress dependent upon needs, wants and desires; these
undoubtedly in part prompted by the very evolution of broader
interacting control systems.
With the advent of
increased urbanisation and MegaCities, objects will be designed to
befit such as world, and as such, we could well see today's standard
vehicle having reached its “capability pinnacle”, with instead
the future demanding greater convergence of specific functional
requirements.
Such as that of small,
lightweight zero emissions EV “Buggy” for the inner-city, Hybrid
ICE-EV for longer travel across suburbs and possibly even return of
the ICE-only Luxury Grand Tourer for inter-city and rural usage; thus
returning the car to its ostensibly the “separate species” of the
Edwardian age.
Each of these differing
types would require alternative 'packaging', different materials,
requisite propulsion systems and dedicated manufacturing methods.
Such an outcome would then theoretically provide for greater
efficiency within a nation's personal transport system, whereby “the
sum of the parts are greater than the whole”.
When such
'visioneering' is applied to all forms of human activity – as seen
starting by the very human-centric innovation of health monitoring
'smart-wear' – so it appears that the 20th century
engineered world will be required to become re-engineered, so as to
befit the 'intelligent' systems inter-dependently monitoring and
interacting the so termed 'advanced' regions of the world of the 21st
century.
At a time-point in
socio-economic history when the hippy ideology of “Gaia” Mother
Earth juxtaposes and inter-relates with the “World Systems”
ideology born by academia, much of the apparently unsustainable
“given norm” is ripe for innovation, via recycling, retro-fitment
or indeed phased whole-scale re-invention.
As with the evolution
of long established engineering realms, Britain should obviously seek
to be a leading global light in this endeavour, and so the role of
'advanced engineering' has perhaps at last, after 50 years cast into
the shadows, become recognised for its innate importance as critical
driver of productivity and wealth creation.
Technology meets
Arts+Crafts:
Technical innovation
has typically been reached through application of logic and
scientific methods, inter-disciplinary learning and optimal
application.
However, whilst usually
developed for the purposes of pure function, such achievements both
as breakthroughs and as improved enablers have for much of mankind's
time-line often been embued with complimentary artistry.
This perhaps best
illustrated by highly symbolic weaponry, such as (in chronological
order) the sword, the suit of armour, the canon and the gun (from
early flint-locks to paired side-by-side shot-guns) and even onto the
graphical embellishment of bomber and fighter fuselages (from
squadron related symbolism to the Vargas 'Pin-Up' Girls seen in WW2).
[These latterly redeployed commercially by Virgin Atlantic on planes
and Brietling Watches in store displays, for positive connetation].
The early established
gun-makers thereafter sought to differentiate and raise the value of
their products via the application of engraving on the barrel(s) and
especially upon mechanism side-plates, with also on occasion, in
addition to the usual light-relief carved pattern for grip on the
stock, the use of woodwork marquetry derived from the separate
lineage of furniture / cabinet-making. Today this match of precision
engineering and artistic crafts undertaken by British gunsmiths such
as James Purdy and Sons, Westley Richards, Boss and Co , William and
Son, William Evans, J. Rigby and Co, Watson Bros, Ray Ward, Anderson
Wheeler and Holland and Holland.
As regards the art of
marquetry, wherein different wood veneers are placed stylistically
within the shallow recess of a wooden or even metal item – from
minute keep-sake boxes through to larger decorative dedicated storage
pieces through to application on bespoke furniture, the most famous
contemporary British proponent is David Linley furniture, fittings
and accoutrement. But there are many other lesser recognised names
who maintain this millennial-old practice
As for the main body of
furniture-making, whilst legendary names such as Thomas Chippendale
obviously still prevail as setting a standard, today a plethora of
British furniture-makers working in wood exist countrywide, each
using varying degrees of labour intensiveness depending upon
construction type and level of ornamentation, whether carving,
marquetry and fabric for seat coverings. Names such as Murfin Ltd,
Corwell, Bristows, Browns (of West Wycombe), Iain James, REH Kennedy,
Touchwood UK, Chris Sharp Cabinets, Arther Brett, and Revival Beds
represent a mix of enterprises typically offering period specific
pieces and sets. Whilst invariably there are new names originating
from universities and small workshops who offer more eclectically
styles items.
In addition, metal(s)
based furniture has had lesser distinction, but since the 'industrial
post-modernism' influence of the 1980s to date, has gained greater
profile. The trend for up-cycling metal cabinets and furniture
originally made for, or indeed commissioned by government and social
institutions as re-contextualised hi-style items in retail premises
and bars / restaurants and latterly filtering down to trendy
household interiors has created a relative new and expanding consumer
market which in turn has encouraged metals-orientated crafts-people.
Whilst undoubtedly
age-old, the arena of ceramics has, albeit slowly, progressed far
beyond the entrenched antique idioms of 'crude' rural earthenware to
'perfect' Sevres bone china. Since the 1960s the increasing demands
for high-performance “shatter-proof” durability by restaurants
has progressed materials science. Whilst as hand-made, crafted high
value 'art', the modern UK renaissance has been led by the artist
Grayson Perry. (His surface work seeks to inform and provoke by
intellectually juxtaposing overtly strong social themes and messages
of modern-times, themselves overlaid onto the fragile substrate). In
the more traditional manner there seems a strong amateur base of
hobby potters often members of associated bodies. Whilst in direct
contrast, away from 'high art' and toward the arenas of medium and
mass-market production and commerce, company names like Wedgewood,
Royal Doulton, Royal Worcester continue (though periodically
re-capitalised reletive to the economic cycle) whilst Moorcroft,
Poole and latterly Portmeirion and Bridgewater are variously renowned
and maintain classic and house styles.
Elsewhere, the once
high-held notion of “designer” truly indicated uniquely
designer-made, yet since the 1960s onward, because of the power of
the brand to intimate lifestyle, there has been a continual
commercial blurring of boundaries to satisfy ever broader consumer
aspirations allied with corporate need for margins and earnings
growth. 'Designer' branding became exploited to create ever more
nuanced stratas of price, quality, style and so appeal. The concept
of mass vs medium vs niche quality and price bands had been with
class-bound British society since the early 1800s, but it was not
until the the disposable income and cultural sensitivities of post
WW2 baby-boomers had come of age in the 1960s that UK commerce
(having learned from the US boom) was able to create new
pyscho-sociological layers so creating vertical stratification on top
of the previous horizontal stratas, so generating a matrix effect for
consumer society, this matrix invariably with its own aspirant
consumer ladder. From that '60s start-point - and icons such as
Terence Conran's pared-back, high-brow Scandi-Modernist inspired
domesticity - that matrix grew into an ever greater consumer
patchwork. Today's plethera of 'designer' applications well
exemplified by the likes of (Irish born) Orla Keily, spanning
originally from trendy hats onto handbags and onto kitchen-ware and
even special edition Citroen cars.
However, the creativity
and care of the seemingly long-lost designer-maker is still very much
alive in what appear farther, less immediate, corners of consumer
consciousness. Unsurprisingly, given the necessarily lengthy handwork
time-scales involved and the often rare or high cost materials
employed, such designer-makers invariably require premium prices.
Yet whilst channels to
teach and promote such next generation individuals do exist, by way
of dedicated Art Schools (eg RCA, 'Chelsea', the Princes School of
Traditional Arts and other regional centres), specific start-up
funding schemes (national Arts Councils), and temporary high profile
exhibition space (from the dedicated Design Business Centre to
Fortnum and Mason's and nationally elsewhere), such channels appear
somewhat limited, often rarefied, and unsurprisingly London-centric.
Encouragingly though counter-balances have emerged, such as possible
'new designer-makers' exhibition space in Harvey Nichols' stores in
Edinburgh, Leeds, Manchester and Bristol, self-sponsored 'artists
districts' necessarily migrating to cities beyond London for cost
reasons, and from the local authority perspective the use of
previously occupied space turned into gallery space to promote local
light industry.
Most pronounced though,
in the modern consumerist era is of course fashion apparel. And it is
here where artistry and craftsmanship reigns supreme, given the
history of clothing and accessories as social signifiers. More than
elsewhere the designer label has become nigh-on ubiquitous, with the
end result (itself ironic paradox) that label and product
stratification and associated heirachies have arisen. From true
one-off sky-high priced couture pieces born from 'cost-plus' pricing,
to fashion sector business analysts' own plotting of pyramidial
trickle-down business models for ever increased volumes of supposedly
'limited edition' ranges, through to high-street interpretations. The
stratification eventually feeding through to the intended ironically
titled “thrift shop collections” by a greater number of
cash-poor, young “fashion self-directors”.
[NB The ideology of
populist 'trash culture' itself recycled far upward into the
accessories of designer brands, such as Moschino's 'McDonald's
handbag'; so creating the supposedly intellectual irony of apparent
“high-cost, throw-away”, itself 'artistically' reflective of the
speedy turnover in the world of high fashion. This followed by Anya
Hindmarsh's various bags referencing iconic FMCG packaging themes.
Such creatives possibly thinking they are following in the hallowed
footsteps of Andy Warhol and demonstrating oh so post-modern artistic
awarenes].
This said, as seen in
the downturn of the late '70s and early '80s, it has often been the
cash-poor, but time and creativity rich, sections of society who have
at critical times made greatest impact, by creating new avenues in
fashion philosophy and themes.
In the UK and across
the world, from apparently scantly resource beginnings, the name Paul
Smith has become revered given its original evocation for classical
tailoring with a twist. And whilst the Smith name has been
periodically applied across various consumer spheres, from run-out
specials of the original Mini to now Smith 'curated' furniture
collections, the founder still holds tight control over product and
shop design integrity.
Furthermore, those who
do not to enter the obvious fashion industry – itself the clothing
sector renamed for glamour – may well enter the theatrical,
operatic, ballet or dance worlds. Herein the production dedicated
costumes created must not only have visually impact, obviously
befitting the character, but must also be wholly functional regards
physical exertion, performance after performance, so requiring
perhaps even greater quality than that of a couture piece.
Credible artistic and
well crafted items undoubted deserve far more respect than recognised
in the mainstream, precisely because for so long they have existed in
a rarefied atmosphere.
So unfortunately whilst
high end apparel has been elevated to that of almost mythical high
standing, outside the high fashion arena and beyond more purist arts
worlds, “arts and crafts” have become rather an anathema for the
vast majority of the population. Unsurprising, since that mainstream
consumer has had little opportunity to reach into arts and crafts for
access and cost reasons, given the massive sway of mass produced
goods which enabled affordability from the mid-point of the British
industrial revolution right up until the global export drive of EM
regions in the mid 1990s onward.
Lastly, keeping with
textiles, there appears to have been a revival of things fabric.
Possibly led (as before) by the likes of Grayson Perry, but with many
younger participants for whom the austrity years have promoted “make
do and mend” attitudes, which in turn leads to textiles orientated
self-creation. Perry's own fabric work is itself a modern take on
traditional methods, created and manufactured via CAD-CAM facilities
(laptop, graphics software and downloaded to industrial loom). So as
to provide new era tapestries for wall hanging which typically offer
social commentary - possibly seeking to replace the horror of bland,
colour coordinated 'accessory' pictures (the abhorance of anyone of
creative spirit) and very possibly to supersede (or at least mask)
the domestic dominance of wall mounted flat-screens.
This interestingly not
for the first time in a consumerist led, materialistic,
commercialised and mass manufacture world.
Social and design
histories permanently retell the story of William Morris, who under
the guise of socialism apparently sought to bring arts and crafts
awareness to the masses. Yet interestingly also recognised optimum
profitability came not from the poor masses but from the bulging
purses of left-leaning upper-class, and middle-class liberals;
themselves in sizeable numbers at the end of the commercially and
industrial vibrant 19th century.
In this regard, as a
supposed social progressive, his was a failed effort to revolutionise
the mass-market's mind away from “cheap tat” with little
aesthetic merit, and toward less ornate but higher quality hand and
semi hand-crafted items. However, a major commercial success given
the ferver and spending power of his well targeted and conquered
upmarket audience.
The British
middle-class of course grew immeasurably during the 20th
century, at least by way of population numbers and earnings power,
and somewhat by artistic understanding given the proclivity for
suburban idealism. This itself originally under-pinned by the William
Morris ethos and translated by Ebinezer Howard's proto-typical Garden
Cities movement, which in turn formed the idealised template for the
suburbs.
But today, as a result
of eroded British 'grande narratives', increased cultural diversity
through immigration (cultural pros and cons), an 'apartheid'
educational system regards science and humanities, academia and
vocational, when viewed in context of post industrial-boom decline
with thereafter post credit-boom decline, it seems that the once high
ideals of Arts and Crafts are largely lost. Lost not just more
obviously to the high volume mass market, but worryingly, also lost
to the much culturally diminished, more socially immobile
middle-class.
The social application
of “Arts and Crafts” in the 21st century, is perhaps
more important than ever before. An over-used phrase but all too
true. If honed properly it offers an up-lifting socio-economic
philosophy, something critically for the national psyche and overall
well-being, avoiding the increasing alienation of modern life. And as
educated consumers, willing to purchase not today's immediate but
empty off-the-peg 'life-styles', but the possibility of
'life-enhancing' or 'life-enriching' consumer choices; choices made
from improved learning and discernment.
To this end, Britain's
manufacturing future – itself centred around 'High Value
Manufacturing' – should be directed at coalescing the technologies
(3D, 'augmented-reality' and otherwise) which provide 'eco' and
'cyber' advancement together with a much improved mass appreciation
for the intrinsically valuable application of Arts and Crafts.
Concise Conclusion -
Technology and
Craftsmanship have historically been polar opposites. Tomorrow they
should become entwined bed-fellows if Britain wishes to nurture a
tenable and long-lasting national economic template. One better supported
and re-balanced by a marriage of capital-goods intensive manufacturing and product enhancing human contribution.
To Follow (Part 5) -
An extended conclusion which captures the pertinent points of investment-auto-motive's
research, observations, analysis and emergent reasoning.
