Cari Paket Haji 2015 di Jakarta Barat Hubungi 021-9929-2337 atau 0821-2406-5740 Alhijaz Indowisata adalah perusahaan swasta nasional yang bergerak di bidang tour dan travel. Nama Alhijaz terinspirasi dari istilah dua kota suci bagi umat islam pada zaman nabi Muhammad saw. yaitu Makkah dan Madinah. Dua kota yang penuh berkah sehingga diharapkan menular dalam kinerja perusahaan. Sedangkan Indowisata merupakan akronim dari kata indo yang berarti negara Indonesia dan wisata yang menjadi fokus usaha bisnis kami.

Cari Paket Haji 2015 di Jakarta Barat Alhijaz Indowisata didirikan oleh Bapak H. Abdullah Djakfar Muksen pada tahun 2010. Merangkak dari kecil namun pasti, alhijaz berkembang pesat dari mulai penjualan tiket maskapai penerbangan domestik dan luar negeri, tour domestik hingga mengembangkan ke layanan jasa umrah dan haji khusus. Tak hanya itu, pada tahun 2011 Alhijaz kembali membuka divisi baru yaitu provider visa umrah yang bekerja sama dengan muassasah arab saudi. Sebagai komitmen legalitas perusahaan dalam melayani pelanggan dan jamaah secara aman dan profesional, saat ini perusahaan telah mengantongi izin resmi dari pemerintah melalui kementrian pariwisata, lalu izin haji khusus dan umrah dari kementrian agama. Selain itu perusahaan juga tergabung dalam komunitas organisasi travel nasional seperti Asita, komunitas penyelenggara umrah dan haji khusus yaitu HIMPUH dan organisasi internasional yaitu IATA. Cari Paket Haji 2015 di Jakarta Barat

http://gjm-suplierbahanbangunan.comIndustri bahan bangunan di Indonesia terus berkembang pesat seiring dengan meningkatnya kondisi perekonomian nasional, dimana kesejahteraan masyarakat dengan  memberikan kontribusi besar dalam pengembangan industri bahan bangunan karena bahan bangunan yang merupakan komponen utama dalam pembangunan fisik berupa sarana dan prasarana infrastruktur. Hal tersebut telah disampaikan Menteri Perindustrian dalam sambutannya yang telah dibacakan oleh Dirjen Industri Agro Panggah Susanto pada pembukaan Pameran Industri Keramik dan Bahan Bangunan di Plasa Pameran Industri, Kementerian Perindustrian.

Pameran yang telah berlangsung selama empat hari, mulai tanggal 19 – 22 November 2013 lalu , telah diikuti oleh sebanyak 33 peserta yang terdiri dari 10perusahaan keramik yang memproduksi ubin keramik (tile), tableware dan sanitair; 4 perusahaan kaca yang memproduksi kaca lembaran dan hias; 5 perusahaan semen; 2 perusahan cat; 10 industri kecil keramik hias; Balai Besar Keramik (BBK) Bandung; dan Lembaga pendidikan SMK provinsi Yogyakarta. Tahun ini, pameran telah memilih tema “Dari Sumber daya Alam Indonesia untuk Produk Berkualitas dan Ramah Lingkungan” karena berkaitan dengan bahan baku yang umumnya bersumber pada sumber daya alam (SDA) Indonesia dan pemenuhan kualitas produk serta kecenderungan masyarakat saat ini untuk menggunakan produk ramah lingkungan.

Dapat disampaikan, industri keramik nasional telah menempatkan Indonesia sebagai salah satu negara produsen keramik tile terbesar ke enam di dunia setelahtelah China, Italy, Spanyol, Turki dan Brazil dengan nilai ekspor rata-rata per tahun sekitar USD 200 juta dan kapasitas produksi pada tahun 2013 mencapai 420 juta m2.

Sementara itu, pada tahun 2012, total kapasitas produksi industri semen telah mencapai 59,7 juta ton dari 11 produsen yang tersebar di Jawa, Sumatera, Kalimantan, Sulawesi, dan Nusa Tenggara. Sedangkan, kebutuhan semen tahun 2012 mencapai 54,9 juta ton dengan produksi sebesar 51,4 juta ton dan diharapkan konsumsi semen nasional pada tahun-tahun mendatang dapat terus meningkat.

Industri kaca sebagai industri padat modal dan padat energi yang telah mencapai volume penjualan pada tahun 2012 sebesar 1,15 juta ton atau telah meningkat sebesar 6,5% jika dibanding dengan tahun sebelumnya. Sedangkan, konsumsi industri cat nasional pada tahun 2012 mencapai 820 ribu ton atau meningkat sekitar 9% dibanding tahun sebelumnya, sehingga diharapkan tingginya permintaan cat di dalam negeri dapat menjadi peluang untuk dapat mengembangkan industri cat nasional.

“Salah satu indikator berkembangnya industri bahan bangunan adalah banyaknya bermunculan toko bahan bangunan yang telah memiliki konsep modern seperti pasar swalayan dengan bangunan yang luas dan jumlah barang yang sangat banyak sehingga menjadi tempat one stop shopping untuk membeli bahan bangunan,” tegas Menperin.

Saat ini, kebijakan strategis yang telah dilakukan oleh pemerintah dalam pengembagan industri bahan bangunan adalah pemanfaatan teknologi ramah lingkungan yang dikenal dengan Teknologi Hijau, yang juga merupakan teknik untuk menghasilkan energi dan/atau produk yang tidak mencemari lingkungan hidup, dimana akan dapat melahirkan banyak inovasi dan perubahan dalam kehidupan sehari-hari. Lingkup Teknologi Hijau mencakup bidang-bidang, antara lain  energi terbarukan (renewable energy); bangunan hijau/ramah lingkungan (green building); kimia hijau (green chemistry); dan teknologi nano hijau (green nanotechnology).

Menurut Menperin, bangunan hijau (green building) mendapat perhatian penting di bidang teknologi hijau. Segala sesuatu yang berkaitan dengan pembangunan rumah atau infrastruktur yang ramah lingkungan saat ini telah menjadi trend, seiring dengan meningkatnya kesadaran pelestarian lingkungan. Penerapannya mulai dari pemilihan bahan bangunan hingga lokasi tempat bangunan yang akan didirikan, diharapkan telah mempertimbangan kelestarian lingkungan hidup. ”Untuk mendapatkan bangunan hijau diperlukan bahan bangunan yang mendukung. Oleh karena itu, industri bahan bangunan harus dapat mengembangkan produknya dengan memanfaatkan bahan baku lokal secara maksimal melalui pengembangan teknologi proses, desain maupun peningkatan sumber daya manusi”.

Dalam upaya untuk menjamin kualitas produk, maka diperlukan standar yang dapat memenuhi spesifikasi minimal yang dipersyaratkan. Pada industri bahan bangunan telah banyak produk yang telah memiliki standar baik yang bersifat wajib maupun tidak. Standar Nasional Indonesia (SNI) yang sudah diberlakukan secara wajib, antara lain untuk produk semen, kaca lembaran dan ubin keramik, sedangkan untuk produk cat saat ini sedang disusun SNI yang akan diberlakukan secara wajib.

http://gjm-supplierbahanbangunan

PENGEMBANGAN BAHAN BANGUNAN RAMAH LINGKUNGAN
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United’s first-class and business fliers get Rhapsody, its high-minded in-flight magazine, seen here at its office in Brooklyn. Credit Sam Hodgson for The New York Times

Last summer at a writers’ workshop in Oregon, the novelists Anthony Doerr, Karen Russell and Elissa Schappell were chatting over cocktails when they realized they had all published work in the same magazine. It wasn’t one of the usual literary outlets, like Tin House, The Paris Review or The New Yorker. It was Rhapsody, an in-flight magazine for United Airlines.

It seemed like a weird coincidence. Then again, considering Rhapsody’s growing roster of A-list fiction writers, maybe not. Since its first issue hit plane cabins a year and a half ago, Rhapsody has published original works by literary stars like Joyce Carol Oates, Rick Moody, Amy Bloom, Emma Straub and Mr. Doerr, who won the Pulitzer Prize for fiction two weeks ago.

As airlines try to distinguish their high-end service with luxuries like private sleeping chambers, showers, butler service and meals from five-star chefs, United Airlines is offering a loftier, more cerebral amenity to its first-class and business-class passengers: elegant prose by prominent novelists. There are no airport maps or disheartening lists of in-flight meal and entertainment options in Rhapsody. Instead, the magazine has published ruminative first-person travel accounts, cultural dispatches and probing essays about flight by more than 30 literary fiction writers.

 

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Sean Manning, executive editor of Rhapsody, which publishes works by the likes of Joyce Carol Oates, Amy Bloom and Anthony Doerr, who won a Pulitzer Prize. Credit Sam Hodgson for The New York Times

 

An airline might seem like an odd literary patron. But as publishers and writers look for new ways to reach readers in a shaky retail climate, many have formed corporate alliances with transit companies, including American Airlines, JetBlue and Amtrak, that provide a captive audience.

Mark Krolick, United Airlines’ managing director of marketing and product development, said the quality of the writing in Rhapsody brings a patina of sophistication to its first-class service, along with other opulent touches like mood lighting, soft music and a branded scent.

“The high-end leisure or business-class traveler has higher expectations, even in the entertainment we provide,” he said.

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Some of Rhapsody’s contributing writers say they were lured by the promise of free airfare and luxury accommodations provided by United, as well as exposure to an elite audience of some two million first-class and business-class travelers.

“It’s not your normal Park Slope Community Bookstore types who read Rhapsody,” Mr. Moody, author of the 1994 novel “The Ice Storm,” who wrote an introspective, philosophical piece about traveling to the Aran Islands of Ireland for Rhapsody, said in an email. “I’m not sure I myself am in that Rhapsody demographic, but I would like them to buy my books one day.”

In addition to offering travel perks, the magazine pays well and gives writers freedom, within reason, to choose their subject matter and write with style. Certain genres of flight stories are off limits, naturally: no plane crashes or woeful tales of lost luggage or rude flight attendants, and nothing too risqué.

“We’re not going to have someone write about joining the mile-high club,” said Jordan Heller, the editor in chief of Rhapsody. “Despite those restrictions, we’ve managed to come up with a lot of high-minded literary content.”

Guiding writers toward the right idea occasionally requires some gentle prodding. When Rhapsody’s executive editor asked Ms. Russell to contribute an essay about a memorable flight experience, she first pitched a story about the time she was chaperoning a group of teenagers on a trip to Europe, and their delayed plane sat at the airport in New York for several hours while other passengers got progressively drunker.

“He pointed out that disaster flights are not what people want to read about when they’re in transit, and very diplomatically suggested that maybe people want to read something that casts air travel in a more positive light,” said Ms. Russell, whose novel “Swamplandia!” was a finalist for the 2012 Pulitzer Prize.

She turned in a nostalgia-tinged essay about her first flight on a trip to Disney World when she was 6. “The Magic Kingdom was an anticlimax,” she wrote. “What ride could compare to that first flight?”

Ms. Oates also wrote about her first flight, in a tiny yellow propeller plane piloted by her father. The novelist Joyce Maynard told of the constant disappointment of never seeing her books in airport bookstores and the thrill of finally spotting a fellow plane passenger reading her novel “Labor Day.” Emily St. John Mandel, who was a finalist for the National Book Award in fiction last year, wrote about agonizing over which books to bring on a long flight.

“There’s nobody that’s looked down their noses at us as an in-flight magazine,” said Sean Manning, the magazine’s executive editor. “As big as these people are in the literary world, there’s still this untapped audience for them of luxury travelers.”

United is one of a handful of companies showcasing work by literary writers as a way to elevate their brands and engage customers. Chipotle has printed original work from writers like Toni Morrison, Jeffrey Eugenides and Barbara Kingsolver on its disposable cups and paper bags. The eyeglass company Warby Parker hosts parties for authors and sells books from 14 independent publishers in its stores.

JetBlue offers around 40 e-books from HarperCollins and Penguin Random House on its free wireless network, allowing passengers to read free samples and buy and download books. JetBlue will start offering 11 digital titles from Simon & Schuster soon. Amtrak recently forged an alliance with Penguin Random House to provide free digital samples from 28 popular titles, which passengers can buy and download over Amtrak’s admittedly spotty wireless service.

Amtrak is becoming an incubator for literary talent in its own right. Last year, it started a residency program, offering writers a free long-distance train trip and complimentary food. More than 16,000 writers applied and 24 made the cut.

Like Amtrak, Rhapsody has found that writers are eager to get onboard. On a rainy spring afternoon, Rhapsody’s editorial staff sat around a conference table discussing the June issue, which will feature an essay by the novelist Hannah Pittard and an unpublished short story by the late Elmore Leonard.

“Do you have that photo of Elmore Leonard? Can I see it?” Mr. Heller, the editor in chief, asked Rhapsody’s design director, Christos Hannides. Mr. Hannides slid it across the table and noted that they also had a photograph of cowboy spurs. “It’s very simple; it won’t take away from the literature,” he said.

Rhapsody’s office, an open space with exposed pipes and a vaulted brick ceiling, sits in Dumbo at the epicenter of literary Brooklyn, in the same converted tea warehouse as the literary journal N+1 and the digital publisher Atavist. Two of the magazine’s seven staff members hold graduate degrees in creative writing. Mr. Manning, the executive editor, has published a memoir and edited five literary anthologies.

Mr. Manning said Rhapsody was conceived from the start as a place for literary novelists to write with voice and style, and nobody had been put off that their work would live in plane cabins and airport lounges.

Still, some contributors say they wish the magazine were more widely circulated.

“I would love it if I could read it,” said Ms. Schappell, a Brooklyn-based novelist who wrote a feature story for Rhapsody’s inaugural issue. “But I never fly first class.”

Rhapsody, a Lofty Literary Journal, Perused at 39,000 Feet

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