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Wednesday, 14 August 2013

Advantages of wood furniture



Advantages of wood furniture

Traditionally, furniture has been made of wood. With the industrial revolution, furniture manufactured from materials such as steel, aluminum, glass and plastic, began to appear. These materials may have revolutionized the furniture industry, but wood is undeniably a staple material in furniture manufacturing. Not only is wood everlasting, but it is timeless as well. Whether it is an armoire in the family room or a chair in the dining room, wood furniture manufacturers manage to combine eternal beauty and robust practically along with a contemporary or country style.

The advantages of wooden furniture are undeniable. Combine a piece of wood furniture to furniture made from steel or glass and the natural beauty of the wood will add warmth and character to any room.

Strength and durability

Wood furniture is extremely resilient and requires very little maintenance. Wood is a long-lasting natural material that can stand constant abuse, whether it's spills in the kitchen or scratches in the dining room. Solid wood furniture can last for generations with minimum care.

Ease of maintenance
Wood furniture is nearly effortless to maintain. Simply wipe the surface of the wood chair parts with a wood cleaner on a regular basis. Do not allow water or dust to settle on your tables, chairs or armoires for extended periods.

A decor staple
Adding a piece of wood furniture to a room will completely change its look and feel. Wood furniture offers elegance, charm and sophistication to any room.

Value
Although you might pay more to begin with for a piece of solid wood furniture, wood is more valuable than other material used in furniture manufacturing. Wood’s natural grain guarantees that each piece of furniture is unique. The initial cost of wood furniture may be higher than lower end materials, but you will reap the benefits for years to come. Depending on your budget, you can select furniture that is manufactured using wood furniture parts in softwood such as pine, or you can opt for furniture that is manufactured using harder, more exotic woods.

Modifiable
The beauty of wood furniture is that it can be changed over time to give it a second, third or fourth life. By sanding and staining, or painting, you can refinish wood furniture and give it an entirely new look.

Advantages and disadvantages of Furnitures

Advantages and disadvantages

Advantages
  • Wooden furniture is traditional aesthetical furniture, which forms the image of an exceptional taste, luxury and stability.
  • Uniqueness – there are no similar wooden products, each is different in its colour, tone and texture. One can change the appearance himself and tune the object to the changing interior by varnishing and painting.
  • Wooden furniture is healthy and ecological, fit for allergic persons, does not require chemical cleaning, resistant to dirt, dust and static electricity.
  • Natural wood is a warm material therefore a home with wooden furniture is always cozier and more serene. Doors, made of natural wood provide good sound isolation.
  • Wooden furniture is robust and durable.
  • Wooden furniture can be repaired and restored to the initial appearance.
Disadvantages
  • Sun, moisture and sudden temperature changes can impair the form and colour. However appropriately dried and processed wood is more robust than plastic or aluminum.
  • The surface can be damaged by sharp objects, stains can remain in case water, alcohol or other coloured liquids are spilt and not cleaned properly. Please, consult our wood care guide for keeping the perfect appearance of your wooden furniture.
  • Wood gets darker with time. Varnishing and painting can restore the initial colour, although the dark colour of furniture is a symbol of luxury and stability. Quite frequently furniture is aged artificially.

Hidden Hazards in the Home: Furniture and TVs

Hidden Hazards in the Home: Furniture and TVs
The U.S. Consumer Product Safety Commission (CPSC) is urging parents and caregivers to inspect and anchor furniture and TVs now, in order to protect young children from a preventable tragedy.
A new data report shows that between 2000 and 2010, CPSC staff received reports of 245 tip-over-related deaths involving children 8 years old and younger. More than 90 percent of the incidents involved children 5 years old and younger. In more than half of the 245 fatalities (56%), the child was crushed by the weight of the television, furniture, or appliance. The majority of these children suffered fatal injuries to the head (67%).
In addition, more than 22,000 children 8 years old and younger are treated in hospital emergency rooms every year (2008-2010) for injuries related to instability or tipover of televisions, furniture, and appliances. And like the fatalities, a majority of these injuries (56%) are to the head.
The most common tip-over scenarios involve toddlers who have climbed onto, fallen against or pulled themselves up on furniture. About 70 percent of children's fatalities (169 incidents) involved falling televisions, and 27 percent (65 incidents) involved only furniture falling. Of the 135 child fatalities where furniture fell by itself or fell with a TV, the majority of incidents (64%) involved a chest, dresser, or a bureau. Often, these pieces of furniture have drawers that children can use to climb. To prevent tragedies follow these safety tips in any home where children live or visit:
  • Anchor furniture to the wall or the floor.
  • Place TVs on sturdy, low bases. Or, anchor the furniture and the TV on top of it, and push the TV as far back on the furniture as possible.
  • Keep remote controls, toys and other items that might attract children off TV stands or furniture.
  • Keep TV and/or cable cords out of reach of children.
  • Make sure freestanding kitchen ranges and stoves are installed with anti-tip brackets.
  • Supervise children in rooms where these safety tips have not been followed.

Furniture Accidents

Furniture Accidents – A Hidden Home Hazard

For many toddlers and young children, home is a place of discovery.
The adventure of learning to stand, walk, and reach that shiny object way on the top shelf can prove irresistible. But these adventures can be dangerous and even downright deadly if the proper precautions are not taken.
The U.S. Consumer Product Safety Commission (CPSC) estimates that between 2000 and 2010 there were at least 245 deaths related to tip-overs of furniture, televisions or appliances among children ages 8 years and under. Most of these deaths, 90 percent of them, involved children younger than age 6. In 2011, the CPSC identified this issue as one of the top hidden home hazards.
Kids can be seriously injured or killed as a result of climbing onto, falling against or pulling themselves up on shelves, bookcases, dressers, TV tables, and other furniture.
Here are some tips for keeping your home safe:
  • Fasten top-heavy or unstable furniture to a wall using brackets, screws or wall straps.
  • Keep heavier items on lower shelves or in lower drawers.
  • Don’t keep remote controls, candy or other tempting items on unstable stands or tables.
  • Teach children not to climb or jump on furniture.
  • Push the television as far back as possible from the front of its stand.
Kids are also in danger of suffocation if they become accidentally trapped in a cabinet, toy chest or laundry machine. In 2007 alone, there were 3,270 injuries to children ages 2 to 14 involving toy chests. Always supervise children around any confined space and keep the doors closed and locked.
Toy chests that meet voluntary standards set by the CPSC are equipped with lid supports that hold the lid open in any position. The standards also call for ventilation holes to prevent suffocation. If you have a toy chest with a lid that doesn’t stay open, the CPSC recommends you remove the lid or install a spring-loaded lid support.
Safe Kids Wake County works to prevent unintentional childhood injury, the leading cause of death and disability to children ages 1 to 14. Safe Kids Wake County is a member of Safe Kids Worldwide, a global network of organizations dedicated to preventing unintentional injury. Safe Kids Wake County was founded in 1996 and is led by WakeMed Health & Hospitals.

Types of wood to make furniture

Softwoods (conifers)

Hardwoods (angiosperms)

FURNITURES

History

Furniture has been a part of the human experience since the development of non-nomadic cultures. Evidence of furniture survives from the Neolithic Period and later in antiquity in the form of paintings, such as the wall Murals discovered at Pompeii; sculpture, and examples have been excavated in Egypt and found in tombs in Ghiordes, in modern day Turkey.

Neolithic period


Skara Brae house Orkney Scotland evidence of home furnishings i.e. a dresser containing shelves.
A range of unique stone furniture has been excavated in Skara Brae, a Neolithic village located in Orkney. The site dates from 3100–2500 BC and due to a shortage of wood in Orkney, the people of Skara Brae were forced to build with stone, a readily available material that could be worked easily and turned into items for use within the household. Each house shows a high degree of sophistication and was equipped with an extensive assortment of stone furniture, ranging from cupboards, dressers and beds to shelves, stone seats, and limpet tanks. The stone dresser was regarded as the most important as it symbolically faces the entrance in each house and is therefore the first item seen when entering, perhaps displaying symbolic objects, including decorative artwork such as several Neolithic Carved Stone Balls also found at the site.

Classical world

Ancient furniture has been excavated from the 8th-century BC Phrygian tumulus, the Midas Mound, in Gordion, Turkey. Pieces found here include tables and inlaid serving stands. There are also surviving works from the 9th-8th-century BC Assyrian palace of Nimrud. The earliest surviving carpet, the Pazyryk Carpet was discovered in a frozen tomb in Siberia and has been dated between the 6th and 3rd century BC. Recovered Ancient Egyptian furniture includes 3rd millennium BC beds discovered at Tarkhan as place for the deceased, a c. 2550 BC gilded bed and two chairs from the tomb of Queen Hetepheres I, and many examples (boxes, beds, chairs) from c. 1550 to 1200 BC from Thebes. Ancient Greek furniture design beginning in the 2nd millennium BC, including beds and the klismos chair, is preserved not only by extant works, but by images on Greek vases. The 1738 and 1748 excavations of Herculaneum and Pompeii revealed Roman furniture, preserved in the ashes of the 79 A.D. eruption of Vesuvius, to the eighteenth century.

Early modern Europe


Florentine cassone from the 15th century
The furniture of the Middle Ages was usually heavy, oak, and ornamented with carved designs. Along with the other arts, the Italian Renaissance of the fourteenth and fifteenth century marked a rebirth in design, often inspired by the Greco-Roman tradition. A similar explosion of design, and renaissance of culture in general, occurred in Northern Europe, starting in the fifteenth century. The seventeenth century, in both Southern and Northern Europe, was characterized by opulent, often gilded Baroque designs that frequently incorporated a profusion of vegetal and scrolling ornament. Starting in the eighteenth century, furniture designs began to develop more rapidly. Although there were some styles that belonged primarily to one nation, such as Palladianism in Great Britain or Louis Quinze in French furniture, others, such as the Rococo and Neoclassicism were perpetuated throughout Western Europe.

19th century


The furniture maker by Ludwig Deutsch
The nineteenth century is usually defined by concurrent revival styles, including Gothic, Neoclassicism, Rococo, and the EastHaven Movement. The design reforms of the late century introduced the Aesthetic movement and the Arts and Crafts movement. Art Nouveau was influenced by both of these movements.

Early North American

This design was in many ways rooted in necessity and emphasizes both form and materials. Early American chairs and tables are often constructed with turned spindles and chair backs often constructed with steaming to bend the wood. Wood choices tend to be deciduous hardwoods with a particular emphasis on the wood of edible or fruit bearing trees such as Cherry or Walnut.

Modernism



The first three-quarters of the twentieth century are often seen as the march towards Modernism. Art Deco, De Stijl, Bauhaus, Wiener Werkstätte, and Vienna Secession designers all worked to some degree within the Modernist idiom. Born from the Bauhaus and Art Deco/Streamline styles came the post WWII "Mid-Century Modern" style using materials developed during the war including lamenated plywood, plastics and fiberglass. Prime examples include furniture designed by George Nelson Associates, Charles and Ray Eames, Paul McCobb, Florence Knoll, Harry Bertoia, Eero Saarinen, Harvey Probber, Vladamir Kagan and Danish modern designers including Finn Juhl and Arne Jacobsen. Postmodern design, intersecting the Pop art movement, gained steam in the 1960s and 70s, promoted in the 80s by groups such as the Italy-based Memphis movement. Transitional furniture is intended to fill a place between Traditional and Modern tastes.

Stainless Steel Table with FSC Teca Wood - Brazil Ecodesign

Ecodesign

Great efforts from individuals, governments, and companies has led to the manufacturing of products with higher sustainability known as Ecodesign. This new line of furniture is based on environmentally friendly design. Its use and popularity are increasing each year.[citation needed]

Contemporary

One unique outgrowth of post-modern furniture design is Live edge, heralding a return to natural shapes and textures within the home.

Asian history


Sendai-dansu for kimono, zelkova wood, note the elaborate ironwork, handles on side for transportation, and lockable compartment
Asian furniture has a quite distinct history. The traditions out of India, China, Pakistan, Indonesia (Bali and Java) and Japan are some of the best known, but places such as Korea, Mongolia, and the countries of South East Asia have unique facets of their own.
The use of uncarved wood and bamboo and the use of heavy lacquers are well known Chinese styles. It is worth noting that Chinese furniture varies dramatically from one dynasty to the next.
Traditional Japanese furniture is well known for its minimalist style, extensive use of wood, high-quality craftsmanship and reliance on wood grain instead of painting or thick lacquer. Japanese chests are known as Tansu, known for elaborate decorative iron work, and are some of the most sought-after of Japanese antiques. The antiques available generally date back to the Tokugawa era and Meiji era.

Tuesday, 13 August 2013

Roll on - a short history of the swivel chair

With RIYA, Bene has a new swivel chair in its programme - the likeable design and ease of use offer an inviting place to sit. We are using this product launch as an occasion to take a closer look at the history of the swivel chair.
Sitting is actually a surprisingly recent human habit. In fact, for a long time sitting as we know it today was reserved for those in power - the throne is the ancestor of our contemporary chairs. The first depictions of seated subjects were created in Egyptian antiquity and show rulers on "representative seats". Being allowed to sit on a chair was considered a sign of power and authority and remained a privilege of the Christian and secular elites until the late Middle Ages.

The chair became somewhat more popular in the 16th century.The increase in commerce led to the first "seated professions" - with increasing frequency, administrators, dealers and bookkeepers completed their tasks at a dedicated workspace, which therefore also had a seat. Since the bookkeeper’s financial ledgers were long and had to be spread out on several tables, this soon led to the invention of a chair with castors to speed up the journey from one end of the ledger to another.



Even then, the design of desk chairs was primarily oriented according to practical considerations. This tendency was continued and even reinforced with emerging industrialisation: From then on, the rhythm of the machines also determined the office work, which had to be completed in a disciplined, precise and methodical manner. According to the principles of Taylorism, people also had to function efficiently: everything had to be within reach on the desk so that movement would be reduced to a minimum.

This machine-oriented thinking is also reflected in the design of the first "proper" swivel chairs, the emergence of which is closely tied with the invention of the typewriter. When the first Remingtons conquered the office in the 1870s, which also lead to the introduction of women into office life, sitting finally established itself as the primary posture in the workplace. The typical desk chair, such as the one designed by Ten Eyck, was a prosaic, standard chair adapted to the secretary and having three or more feet, a height-adjustable wooden seat and a vertical, slightly springy backrest to support the spine. Unfortunately, the anonymised mass products didn’t function as they were supposed to - sitting was uncomfortable and resulted in back pain and bad posture.

Frank Lloyd Wright was one designer who created less functional, more design-oriented office furniture, developing special swivel chairs with cane work for the Larkin Company’s administrative building. Michael Thonet, probably the most important furniture manufacturer at the turn of the century, also tried his hand in office design: in collaboration with Otto Wagner, Thonet designed elegant chairs for the Viennese Postsparkasse bank, although these barely met the needs of daily office work.


Ergonomics - a magical word

Only in the 1950s did one magical word manage to make the office — and especially the swivel chair — interesting to engineers and designers: ergonomics. The goal of this new discipline was to adapt the work environment to the employees’ needs and liberate them from the stiff, right-angled sitting posture. This was to be achieved through norms, all manners of adjustment levers and mechanics - many office chairs were developed into actual sitting machines with complex technology, which the users often just gave up on.

In the late 1970s, there was a deliberate shift in thinking: while swivel chairs should correspond to people’s ergonomic needs, they should still be user-friendly. Developed by Klaus Franck and Werner Sauer for Wilkhahn in 1979, the FS was probably the first user-friendly chair with an automatic synchro-adjustment to appear on the market. Even the slogan "Sitting without a driving licence" emphasised its ease of use.


Symbiosis between functionality and design

In recent years, communication and team work have established themselves as fixed components of daily work. This also led to differentiated office layouts: The ideal office provides not just areas of retreat for concentrated work; it also offers open spaces for communication and collaboration and is a place for efficient work that also feels good. In this increasingly social and emotional office environment, the furniture also has to adapt to new demands - flexible adjustments and an attractive design are particularly desired.

The products from the London studio of PearsonLloyd offer a perfect example of this symbiosis between functionality and design: "In our work, we want to question the overwhelmingly technoid aesthetic that dominates office spaces", the designers explained. Following the Bay Chair, which is especially appropriate for team work as well as short-term, concentrated work, Tom Lloyd and Luke Pearson now present the RIYA swivel chair. Its form language and soft lines deliberately negate the usually technoid, sombre appearance of swivel chairs and is intended to create a comfortable experience for office workers. In addition to the friendly design, which represents an open and likeable office culture with a human touch, RIYA is also very adaptable: RIYA fits into the various zones of modern offices not only aesthetically but also functionally (in addition to the traditional synchronous mechanics, the chair also offers an automatic weight regulation). The technology doesn’t try to take centre stage; instead its use is intuitive, with the help of attractively designed adjustment buttons.

Following an age of rectangular wooden chairs and over-equipped, mechanical devices, the RIYA has brought us into the office of the 21st century, in which the chair is neither a status symbol nor a sign of hierarchical superiority. A good swivel chair has an appealing design, satisfies the employees’ ergonomic needs, and is still easy to use. "Human touch" instead of sitting machine - that sounds good, doesn’t it?

Stockholm Furniture Fair

 Hustle and bustle in the far North: The 62nd Stockholm Furniture Fair, the world’s largest trade show for Scandinavian furniture and lighting design, took place between 5 and 9 February. All sorts of Scandinavian and international brands, among them Bene, were brought together under one roof in a relaxed atmosphere.
Once again in 2013 the Stockholm Furniture Fair showed a small but select set of offerings: in addition to new products from the office world, the spotlight was on home and light design. Young and talented designers were offered an exhibition space in the Greenhouse, art fans enjoyed the installations of renowned designers, and when people got tired of walking around, they could freshen up at the Design Bar designed by

Bene participated in the Stockholm Furniture Fair for the first time, showing a sophisticated Smart Working Space round the Future Tree - a flexible office landscape that explores the different needs of Solution Workers and offers differentiated space solutions. Trade show visitors expressed lively interest first and foremost in the PARCS and DOCKLANDS product families. Small wonder - these furniture lines are multi-functional, sophisticated solutions for today’s workspaces, enabling both focused individual work and communicative teamwork. The CUBE_s workplace modules, designed by Christian Horner, were also presented; these modules combine working and storage space so it feels like you were working in a cockpit.

Office design today

Other firms such as Vitra, Kinnarps, Limbus and Martela also presented their office concepts in Stockholm, demonstrating that intelligent partitioning into different zones for both collaboration and concentration is good form for modern work spaces. Much of the office furniture on display had (often adjustable) walls that screen out disruptive noise and are meant to enable quiet and concentration in an open-plan office. Colour is finally coming back into the office with these new concepts: the palette ranges from light pastel tones to strong, vibrant colours that fight back the grey everyday office life.

Efforts are being redoubled to better integrate new technologies into the furniture: Martela, for example, is working on a concept that should enable users to gain access to their personal data with a check-in card, regardless of which workplace they are at. Along with functional components, this should help people to be able to personalise their own workplace, even if they switch places frequently.

Scandinavian highlights

Bene’s partner Offecct presented two new seating options with the Carry On and the Cape, both of which have the stuff to become a classic. As its name implies, the Carry On is a portable stool with a cheeky design that will be used in flexible, active working environments. Presented with elegance and a spark of irony, the Cape by Nendo is a chair that looks as though it is wearing a cape: Nendo believes that design should be functional, simple, and friendly, and this product meets these criteria perfectly.

One of the highlights in the exhibitions was definitely the appearance of the young Danish company Hay. Founded in 2002, Hay presented its first furniture collection at the imm Cologne one year later. Hay wants to cooperate with talented designers to pick up on the innovative Danish design of the 50s and 60s. Other furniture designs presented in Stockholm include the uncomplicated, fresh models from Hee Welling or Ronan and Erwan Bouroullec, and a comprehensive collection of accessories: designed with a love of detail, these accessories include mirrors, colourful boxes, and even matchboxes, along with textiles.

The Swedish firm Bla Station also had a few exciting new products in their programme: the Dent Chair is strikingly different (Jon Lindström & Henrik Kjellberg), representing an "antithesis to perfection" with its irregular protrusions, waves and folds, challenging notions of smooth classical beauty. And we find it to be a complete success.

The Kvadrat booth presented an impressive eye-catcher that was designed by the London designer duo Raw-Edges: visitors found themselves underneath a massive roof of leaves "woven" together out of textiles and supported by a wood structure that resembled a tree.
Muuto is also searching for new perspectives, cooperating with a series of talented designers from Scandinavia. The "New Nordic" collection is dominated by simple clear lines and fresh colours, and there are several nods at design classics. Well done: the Nerd Chair (David Geckeler) and the Leaf Lamp (Mats Broberg and Johan Ridderstrale), which combines aluminium, steel and brass, and resembles the shape of an individual leaf with a stem.

Everything is illuminated

The minimalist creations of Daniel Rybakken, who was invited this year to create the trade show’s Design Bar, turned out to be particularly illuminating. Rybakken’s work strives, through a total reduction of shapes, to create space to concentrate on the quality and texture of light. The young Norwegian realised this conceptual approach in "Counterbalance": the lamp, designed for Luceplan, inspires with its long, extremely mobile arm, which is held in balance by a round counterweight mounted on the wall.

Wästberg presented the W131, designed by Claesson Koivisto Rune, at the Stockholm Furniture Fair. The very compact, friendly coloured pendant luminaires are made using a sand-casting procedure - the slight bumps in the aluminium surface are intentional and lend the object a tactile quality.
Northern Lighting offers more rustic design: "Plank", designed by Frida Ottemo Fröberg and Marie-Luise Gustaffson, consists of raw unprocessed wood and controllable LEDs, bringing to mind associations with stormy nights at sea.

Young design in the Greenhouse

Young designers and design schools have the opportunity to present their work in Stockholm in the Greenhouse. The Greenhouse provides a platform that enables young talents to make contacts and present their work to a broader audience. The fact that the concept bears fruit is proven for example by Oki Sato, who presented his work there ten years ago. This year he was invited as the Guest of Honour to design the trade show’s entrance and lounge area. The founder of the Nendo design studio crafted innumerable elements, cut out of foam boards and shaped into loops, to create a white landscape that reminds viewers of snow-capped mountains. Inside the fragile structure, white Nendo chairs also offer the option to take a break from the bustle of the trade show, turning the installation into a living organism. For Sato, the "80 sheets of mountain" is a symbol of the design process itself, because it traces the path of an idea from its conception to its actual manifestation.

Hello! The Anatomy of Communication

Those who longed for a verbal exchange after all of their visual experiences had an opportunity at the talk show and installation entitled the "Hello! Show". For the third time in a row, "Hello!" offered the opportunity to discuss current topics from the world of design with specialists. This year, the Finnish illustrator Kustaa Saksi and architect Gert Wingarch designed a room covered by a mighty canopy of leaves where discussion panels, staged as talk shows, took place regularly. The central theme of the "Hello! Show": communication as the starting point for (design) work. In the end analysis, everything begins with a "hello". Or a Swedish "hej".

Coworking Russian style - a visit to Moscow

Coworking spaces are no longer found just in New York, Berlin and London – in Asia, Brazil and even Addis Ababa, these non-territorial, communally used office spaces are springing up everywhere. We travelled to Moscow to take a closer look at three very different coworking spaces.
Representative work in the "Cabinet Lounge"

The elite Cabinet Lounge has offered its services in central Moscow since 2011. This "private members business club" is not a coworking establishment in the strict sense of the word – you can’t just spontaneously rent space here for a few hours. Only members get access to the elegantly furnished rooms, for a monthly membership fee of about 1,000 dollars. The clientele of the Cabinet Lounge is accordingly well-to-do – this is where managers and executives from smaller companies come when they want a representative office in the city centre. Politicians and business travellers looking for their customary comforts in the Russian capital are also among the guests. The benefits of the membership are obvious: the club fees are still much more affordable for Moscow residents than renting a comparable space in a similarly good location. The Cabinet Lounge is also an excellent venue for business meetings, either in the special conference rooms or in the more relaxed atmosphere of the club’s own restaurant.

According to Anna Karabash, the company’s press speaker, this concept has been very well received in Moscow, even if the "open space" office format is slow to catch hold: "No one has their own workplace in our offices, just like no one gets their own treadmill at a fitness centre. However, since we are a club, people get to know each other quickly and the atmosphere is quite familial. After a while everyone knows that the space at the window belongs to the older brother, so the other family members won’t annoy him by sitting there." Since the demand is very high, Karabash says that a second Cabinet Lounge is already being planned in Rublyovka, the "Golden Mile" of the super-wealthy along Moscow’s periphery. This is not a bad idea, since the many traffic jams make travelling from Rublyovka to the centre of this enormous city often more time-consuming than, say, a flight from Moscow to London. It therefore makes sense to save time by bringing the office closer to home.

A space for hipsters, freelancers and start-ups

The "Cowork Station" in Gorky Park is a coworking space that follows the European model. Here you not only work next to each other but also focus on an exchange - which is why movie nights and events, in addition to numerous seminars, are a regular part of the programme. The owner Michail Komarov explains the concept of the "Cowork Station" like this: "Above all, we wanted to focus on communication in our coworking, which is why we didn’t divide the space into different zones - we just partitioned off the meeting room. We set up two-metre long tables for four persons each. The windows are very large and face a forest; they offer a beautiful view and natural light. All of the furniture is made of wood and we made the chairs ourselves. We wanted to prevent the ‘Cowork Station’ from looking like a typical office, which is why we don’t have the traditional swivel chairs but wicker chairs, as you would in a garden."

Which categories of users frequent the "Cowork Station" is easy to tell from the price list - since the rates are divided into "hipster", "freelancer" and "start-up". You can rent a workplace here for as little as 650 roubles (about 12 euros) per day and up; the equivalent of 400 euros per month also gives users access to a meeting room, a locker for personal documents, and the option to reserve a favourite space.

A different kind of workplace

In the late 1980s the sociologist Roy Oldenburg coined the term of the "Third Place" - which refers to such places as coffee shops, libraries and other social spaces that function as neutral territory for exchanges and position themselves between home and office. Many of these so-called third places can also serve as (temporary) workspaces. In Moscow the list of such third places is long: A number of them offer the visitor not only the chance to work comfortably in a friendly atmosphere but also the opportunity to exchange ideas with like-minded people. The strong demand for these kinds of spaces also has to do with the precarious living situation in the Russian capital: Since real estate prices are extremely high, the culture of communal living has been slow to develop and many young people still live with their parents. Many talented minds also lack the money to rent an office that fits right in with their business idea. "Third places" offer a welcome solution in this situation.

Just like these "third places", so-called anti-cafés have sprung up in recent years as a popular option – and here Benjamin Franklin’s "time is money" is taken very literally: Instead of paying for consumed beverages, the visitors only pay for the time they spend in such a café.

One of the most popular anti-cafés is called Ciferblat. This anti-café is frequented not just by the usual visitors who read, play chess and meet friends here, but also by students, freelancers and young mothers who use it as a temporary workplace. Here you can work on projects conveniently and in a friendly setting without spending too much money. Ciferblat’s prices are very democratic: While a minute costs two roubles (about five cents) in the first hour, this drops to half the price from the second hour on. The time is kept with old alarm clocks that have been sourced from the city’s flea markets and antique shops. Coffee, tea, pastries and wi-fi are included in the price and the guests are welcome to bring their own food. For education and entertainment, the café also offers regular game evenings, readings and nocturnal film screenings.

All in all, it’s a textbook example of how a "third place" should work. And even if the Ciferblat probably gets too loud and lively for concentrated work over time – when it comes to brainstorming with friends or taking care of some online research, it is hard to think of a more comfortable space.


Better “alive” than “there for all eternity“

Heliotropic buildings, skyscrapers with vibration absorbers, walls with integrated phase selectors, dancing facades, moving walls, and buildings that are bigger inside than out – 21st-century architecture is interactive. And very much alive.
We like to take for granted the enormous variety of specific architectural solutions for the places where we live and breathe and work: from the igloo to the tent in the desert, the bunker to the space station. But we still have a stereotypical image in our minds when we hear the word "building": static, passive and universal. However, buildings intended to cope with today's lifestyles are (we hope!) changeable and adapted to specific circumstances, or even customisable in themselves. And they need to be, as they do not all face the same demands in every location.

Whether it be the climate, potential (natural) risks, the setting for the buildings (surrounding landscape, architecture or culture), their purpose and function, symbolic expression and aesthetic requirements, energy aspects, mobility needs, the space they need, building regulations – there are a host of challenges. This is especially true whenever buildings are expected to respond interactively to the life they accommodate even after they have been "completed".


The first step is straightforward


… because throughout the history of architecture, problems and priorities may have changed but the same structural solution can still work for different starting points. Take a specific example: buildings on stilts. Although the main reason for their existence has long been to protect their inhabitants from wild animals, enemies and flood waters, you will still find today in city centres – far removed from such dangers – buildings standing on pillars. Now they are meant to create an open space below a building to meet and interact with others. This is a way for buildings to react to the restricted space available in today’s cities and meet the needs of their residents.


The advantage of experience


There are also places where the problems are the same as they have ever been, but where the solutions vary from the traditional to the modern. When Nias Island near Sumatra was hit by major earthquakes in 2005, nearly all of the buildings collapsed – except those that had followed tradition when they were built. Their locations on hilltops and their construction on three levels (substructure, coherently constructed living space and a very high light roof) were ideally adapted to the local danger of earthquakes.

These days earthquake-prone areas make successful use of flexible foundations and building materials that can bend under high pressure. Vibration absorbers are used in skyscrapers. That is why a huge ball weighing 660 tons hangs from steel cords on the top floors of the 508-metre high Taipei 101 Tower in Taiwan, acting as a pendulum by swinging in the opposite direction to movements caused by earth tremors. This counters dangerous vibrations and prevents the building from falling down.


A look at flexible walls – always keeping up with the surroundings


It really starts to get exciting when architecture deals with constantly changing surroundings: this is when buildings suddenly start to respond to specific data provided by sensors on measurable and, above all, changing conditions in the environment, the weather, etc. – and then transform themselves accordingly. Obviously to the benefit of those inside.

Let us look at a relatively simple example, such as heat insulation. One well-proven material for this purpose is clay, as it has a high capacity for storing heat and evens out the temperature: during the day it absorbs heat, which it then releases overnight. This keeps rooms cool in the summer and creates a pleasant indoor climate. The insulation features of clay can be further improved by adding straw to it. In southern climates, clay (adobe) buildings may be found everywhere – not least because clay is easily available.

Massive concrete or masonry walls also have a high thermal storage capacity and a corresponding cushioning effect. However, since buildings are increasingly of light construction (wood, steel or glass instead of concrete or stone) and have large areas covered by windows, there is insufficient thermal mass to prevent them from overheating. Of course, they can be cooled with air conditioning but that consumes a lot of energy.

The latest solution is called PCM (Phase Change Material). Microencapsulated PCMs (such as types of paraffin) are integrated into conventional building materials like plaster and spread onto the surfaces of walls and ceilings. The trick with PCMs? When a particular temperature is reached (say, 26°C), the material changes from solid to liquid while maintaining its own temperature. It takes the necessary energy from the surrounding heat and thus stabilises the temperature in the room. In this phase of the conversion, large amounts of heat are taken in and stored (latent heat). When the surrounding temperature cools down at night, the PCM returns to its solid state, releases its stored heat and is ready to be "recharged".


Dancing facades


There are other ways that buildings can change, such as at the Centre for Molecular Medicine at the University of Cologne or Kiefer technic’s showroom in Bad Gleichenberg. Their facades are covered with horizontal metal boxes that offer protection from light and sunshine. When all the windows are closed, the building looks like a warehouse without any kind of window. When they are open, the character of the building changes completely, welcoming all and sundry. This not only allows them to adapt to the sun’s rays but also provides the desired aesthetic effect. At Kiefer technic, the aluminium boxes can each be switched up or down gradually and changes in movement can be programmed, with the effect that the façade appears to be dancing.


Heliotropic buildings


Equally aesthetic and at the same time energy efficient are photovoltaic systems integrated into buildings. A moveable solar shield is planned for the Burj Al Taqa Energy Tower in Dubai, although it has not (yet) been installed owing to the financial crisis: it will simultaneously provide shade and generate electricity as it revolves with the sun around the 322-metre skyscraper.

Not only individual elements can adjust with the sun’s movement: whole buildings can do this and have been doing so since the first half of the 20th century. This was a time when solar therapy was growing in importance and so hospitals and homes were built that let in direct sunlight throughout the day. Belgium’s François Massau built his second revolving house so that his sick wife could enjoy warmth and sunshine all the time. The rotations did not automatically follow the sun but could be controlled by a machine.

A more recent example that is considered as the hallmark of solar architecture today is the Heliotrop, a revolving solar building in Freiburg. This is a cylindrical building standing on a single pillar. It is covered in glass on one side and solid, as well as insulated, on the other. The rotations ensure that the glazed side is always facing the sun.


Moveable on demand


Even skyscrapers can revolve on their own axis. The Suite Vollard, which opened in 2001 in Curitiba, Brazil, was the first. This is not primarily a question of facing the sun but of the view that the apartment residents wish to look at. Eleven of the fifteen storeys can be moved independently in either direction.
Revolving towers are also being planned in Dubai of which at least a number of floors can be adapted to the views desired by the residents. These include the Rotating or Dynamic Tower. The gigantic building concept – what else would you expect in Dubai? – by David Fisher already received numerous awards in 2008, although the construction keeps being postponed.


Buildings on the move


Also moveable but in a different way is the Whangapoua Prefab Hut, an elegant multi-storey beach cottage on the New Zealand peninsula of Coromandel. Two runners enable the building to be "re-parked" – not just for fun but as a necessary adjustment to the constantly changing landscape in an area noted for its coastal erosion. The hut is also adapted to wind and weather with its big opening/closing front and windows.

The Swedish architects Jägnefält Milton designed an even more unusual and exciting concept for the Norwegian town of Åndalsnes: the "Rolling Masterplan" – buildings on rails. The widespread rail network, previously used for industrial purposes, provides the infrastructure for these mobile buildings. Depending on the season and situation, the buildings can be rolled through the town and its surroundings, which are impressive not just to tourists. They are mostly built as small, boxlike houses or rooms, yet a moving hotel is conceivable, as is a public swimming pool and a concert hall. This is a concept that is tailor-made for the existing circumstances and the architects say it can easily be implemented.


The narrowest building in the world


In some cases you might think there is simply too little room to construct a building. Not if you are Centrala’s architect Jakub Szczesny. He has squeezed the narrowest house in the world into a gap ranging from 72-133 cm between two existing Warsaw buildings. A hallway, a compact kitchen, a little bathroom and a bedroom with a desk can be reached via steps and a ladder. The ceiling and walls are made of polycarbonate plates that are thin and transparent – essential for the "somewhat" tight location between the two neighbouring buildings. The building has 14m² of floor space but is not intended to be a complete flat: it was in fact designed as a studio for the Israeli author Etgar Keret, who occupied it in 2012.


Bigger inside than out


There are lots of places where restricted space is an issue – all of the necessary rooms will simply not fit. This is because, apart from the functional units such as bathtub, bed or kitchen units, everyone needs a bit of free space to avoid feeling that they are packed in like sardines. The celebrity designer Luigi Colani has come up with one solution with his Hanse-Colani-Rotorhaus, which is on show in Oberleichtersbach near Fulda: there is a space in one corner containing a bath, bed and kitchen, which can be rotated depending on what the user wants at any one time. The remaining free space is shared by all the "rooms", thus making 75m² of living space out of a total area of 36m².

Architect Gary Chang makes do with even less space in his 32m² Hong Kong apartment. It only has one room but it can be transformed into 24 different ones. This is because the interior walls can be moved across tracks in the ceiling. The functions of the various rooms are integrated into the walls and can either be accessed immediately after moving the walls, by folding down an element or through similar easy movements. The room thus changes to meet one’s needs: a thoroughly flexible solution for the usually tiny apartments in the overpopulated city of Hong Kong.

In another design by Gary Chang – the Suitcase House – it is not (just) the walls but also the floor that reveal unsuspected opportunities. By lifting various panels in the floor, you can find a kitchenette, a shower tray, a bed or plenty of other "rooms" buried in hollow spaces a few steps under the floor. So it is very simple to adapt the interior to one’s individual needs.


Flexible room partitioning


Another flexible and adaptable building is the Mima prefabricated house designed by the eponymous Portuguese architectural practice. The main inspiration came from traditional Japanese houses where larger rooms can be partitioned off with mobile paper walls. With Mima, standardised wall elements can be simply slotted into a 1.5-metre grid, creating units of any desired size. The wall elements can also be used to close off the exterior glass walls whenever necessary. As the wall elements can be made in different colours on both sides, the atmosphere in a room can be changed in an instant. Just as the users want – as long as it can be changed and as long as it is alive.

Corporate Social Responsibility – too good to be true?

 Let’s be honest: morality is not a private matter, even though we may get that impression when looking at our ever so advanced societies over different historical periods. Committed activities can make people sit up and take notice, change their perspective, and raise a new awareness. Actions that come under the banner of “CSR” are already required from a relatively wide community, and it means something that should have been obvious for quite some time: namely, that businesses should recognise their responsibilities to the environment and to society, in the full sense of Corporate Social Responsibility. Too good to be true?
Whether it involves company nursery places, eliminating questionable materials from production processes, preventing discrimination, creating resource-saving product designs, or engaging in charitable causes – CSR can be applied in a thousand different ways.

More than just a definition

In the English-speaking world, the term "Corporate Social Responsibility" is already part of the standard business lexicon; in German-speaking countries, however, it is only gradually establishing itself. In this country, "sustainability" has made it into the limelight – measures that could fall under either term tend to be assigned to the latter. The number of sustainability reports therefore exceeds the number of CSR reports (for now) – in some places, they are even called CSR sustainability reports. This is not completely unjustified, as both topics are indeed interrelated because CSR measures can promote sustainable development.

However, while sustainability seeks to establish a balance between environmental, social and economic components (some models focus more heavily on the environment as the foundation of the two other elements), CSR takes the economic components for granted and focuses on the environmental and social or societal aspects. As the name says, CSR refers to corporate responsibility. Sustainability still remains though as a more comprehensive concept that is not limited to CSR, and it is by definition oriented towards future generations. The widespread misconception that sustainability = environment and CSR = social components is at any rate incorrect.

More than the bare necessities

Voluntary participation is an essential aspect of CSR. In other words: CSR goes beyond legal compliance. Two examples: If employees have the right to elect a Works Council, "permitting" a vote is not a CSR measure, just as the installation of a legally required exhaust air cleaning plant is not considered CSR. However, if the installed plant is significantly more environmentally friendly than legal regulations require, or if there is no employee right to elect a Works Council in a country but this is made possible in any case, then both actions can be considered CSR.

Yet it is not quite as clear as it may seem. This is because the idea that CSR should depend on the respective legal situation is problematic. Under such a definition, a company that fulfils all regulatory requirements in a country with high environmental and social standards, yet does not go beyond them, is not engaging in CSR. On the other hand, a company that moves production to a low-wage country that has hardly any regulatory frameworks in place, and takes just a small step beyond what is legally required, could boast about their CSR efforts.

The voluntary component of CSR refers inherently to the careful selection of a production site that meets CSR criteria.
The Austrian brands GRÜNE ERDE and WALDVIERTLER SCHUHWERKSTATT, for example, are leading the way by leaving their production facilities in European countries despite higher costs, instead of relocating to low-wage countries in the eastern hemisphere. Both companies are known for their corporate philosophies as well as the comprehensive CSR activities derived from these.

More than a little

Credible CSR affects more than the core business. A bit of sponsoring here, a small donation there - that may be all well and good, but it is not enough for real CSR. Once a company has decided to embrace real social responsibility, then it should cover all corporate departments and run through the entire value creation chain.

The first thing to do is for a company to be absolutely clear about the role that is plays in the social environment. A strategic position statement is required before positive instruments can be developed. Internally created and/or pre-existing guidelines can be appropriated as a mandatory code of conduct, such as the ILO Conventions, the OECD Guidelines or the 10 Principles of the UN Global Compact.

In addition to anchoring CSR in the core business, using core competences for CSR measures is also a perfect approach. For example, Deutsche Post World Net uses its logistical capabilities to deliver aid after catastrophes such as the tsunami in Southeast Asia, works together with UN sub-organisations to build a global network of disaster response teams with volunteer DHL employees and transports medicines for free to developing countries.

More than polishing an image

Another feature of (successful) CSR is dialogue with stakeholders, whether they be investors, employees, customers, suppliers, neighbours, public authorities, NGOs, the media or even just the public.

You may ask, why the media and the public? Communicating CSR measures is completely legitimate – the relationship between the commitments communicated and those that are in fact real just has to be true. Unfortunately, there are several cases of unsubstantiated exaggerations, half-truths or overemphasis of individual aspects that scarcely have any relevance to the core business. In addition it is not always easy to see through an attempted image campaign such as the green giant campaign by the RWE energy group during the Copenhagen Climate Summit a few years ago – a perfect example of greenwashing.

In other areas, asking about the core business can yield information about how serious a company’s CSR efforts are. Deutsche Bank, for example, dedicates an entire menu on its website to "Social responsibility", along with comprehensive information – all of which is perfect for CSR purposes. Yet if you begin asking questions about the financing of military weapons companies or speculation in the commodities markets, then an ambivalent picture begins to emerge at best. The bank only implemented a guideline that severed its business relations with manufacturers of cluster bombs (alone) after massive public pressure was brought to bear. The discussion about the effects of speculation in agricultural commodities has led the Bank "to reconsider its role in solving the problem of world hunger."

The fact that a high degree of CSR is possible in the banking sector is proven by financial institutions that invest exclusively (or overwhelmingly) according to ethical criteria – with positive and exclusionary criteria – such as GLS Bank, Ethikbank, Triodos Bank, Bankhaus Schelhammer & Schattera among others.

More than empty words

One thing is also clear: if a company commits publicly to CSR, then credibility is of the highest importance. Credibility can be strengthened by cooperation with NGOs or earning quality seals, certifications or CSR awards, as well as with an honest CSR report. A Code of Conduct that only appears on a website is of little value when it comes to credibility as long as compliance is not monitored by an independent body.

More than a reason

Being an attractive employer is an advantage for any company. Google knows this, as does the German company Sick. Numerous trainees have been taken on at the market leader for factory and process automation. The company hires older employees and severely disabled persons and guarantees the compatibility of career and family. For these reasons and more the company regularly ranks among Germany’s Top 10 employers.

Such measures bring together effective factors both inside and outside the company. While some corporate CSR is implemented out of a commitment to ethics, some companies focus on the economic advantages that often occur as "accompanying phenomena". This is because studies show that responsible companies are successful over the long term: "doing well by doing good." And that is a good thing. So let’s not judge companies too harshly for ulterior motives. In this case, the results should be ranked above the intent...

More than a "normal" entrepreneur

Social entrepreneurs go one step further in their understanding of responsible enterprise. Their motivation is not to lead a company as responsibly as possible, but rather vice versa: they want to solve social problems, and it is precisely for this reason that they found a company. Their aim is to develop innovative concepts and not make profits, in order to make the world that little bit better to put it casually.

For example, this includes searching for new ways in the education system to help disadvantaged children find success, creating conflict resolution models in crisis-ridden regions, developing strategies to combat poverty, or facilitating understanding between nationalities and religions. The single local project is not the sole focus here; instead these entrepreneurs seek to create a model that can be applied to other places, thereby creating major transformations.

More than change

They find support for example at Ashoka, an organisation that is the global leader in providing support to social entrepreneurs in the form of funding, advice and networking.

Social entrepreneurship reached the world stage in 2006 when Muhammad Yunus won the Nobel Peace Prize for Grameen Bank in Bangladesh. His idea of granting microcredits to people in poor countries made a contribution to reducing poverty that has been emulated many times since, and all of this in the form of a financially successful company.

Andreas Heinecke’s "Dialogue in the Dark" is one of countless other examples of social entrepreneurship. The business idea is for blind people to guide small groups through rooms that are completely dark and which contain aromas, winds, temperatures, sounds and textures, all of which give everyday life a new experiential quality. The concept has been thoroughly successful for over 20 years: tours in over 30 countries, more than 7 million visitors and 7,000 new jobs specifically for blind Dialogue employees – and demand continues to grow.

Normally social entrepreneurship (still) takes place in smaller contexts, such as Glovico (Global Video Conference), an online language instruction platform where native speakers from developing countries give language students in Europe lessons via Skype and set their own prices for their services.
Nevertheless, social entrepreneurship is already on its way to going beyond a niche phenomenon. Even renowned business schools have adopted the idea and are discovering a lot of interest among their students.

Anyone who is looking for examples, ideas or information should go to the"Yes we do"project, which presents a new project every day and has the aim of driving forward change in a sustainable society. These positive examples are meant to provide inspiration and lead to optimistic action from destructive complaining, all in order to make the world that bit better. It is therefore about more than "just" change – in simplest terms it is about change for a better future.