Article by: Bene

Trends

PIXEL BY BENE at the Milan furniture fair

PIXEL  Salone Internazionale del Mobile.Milano

The world's largest design fair took place between 4–9 April: the Salone Internazionale del Mobile in Milan. Major brands and up-and-coming international designers presented the trends of tomorrow. PIXEL by Bene obviously had to take part.

The Salone Internazionale del Mobile has been the centrepiece of the international scene every spring for 56 years now. Around 2,000 companies presented the latest design trends over approx. 200,000 m2 of exhibition space. More than 3,000 visitors came in search of inspiration this year. The six days also included around 1,300 different events. The Salone Ufficio takes place every two years as part of the Salone Internazionale. This year’s "International Biennial Workspace Exhibition", originally established in 1982, was devoted to the theme "Workplace 3.0". Around 120 exhibitors presented their solutions for the working environment over approx. 10,000 m2 of exhibition space.

Author: Bene

Bene Office Maker: experience the ideal office!

Bene Office Maker

Bene is publishing an innovative online tool to design office environments: The Bene Office Maker (officemaker.bene.com) is a new online application that makes the design of office spaces delightfully easy.

When you start planning an office space, you may quickly find that it’s much harder than you initially thought it would be. What does a modern office actually do? What needs to be considered? And how can an office space perfectly support a company’s culture and processes?”

This is why Bene developed the Office Maker, a handy online tool to offer support in the initial phases of office space design. The Bene Office Maker is a digital tool that enables a conveniently easy visualisation of office settings. The online application just asks a few simple questions about the user’s company, work methods and workflows.

225 years of Bene - a short company history, Part 2

225 years of Bene

Bene celebrates its birthday. Founded in 1790 by Michael Bene as a small carpentry workshop in Waidhofen an der Ybbs, the company has now , 225 years later, 80 subsidiaries in 37 countries. 225 years of family history, 225 years of office history, 225 years of Bene history. Happy Birthday Bene.
 

Part 2: The Bene Logo

Most people, especially in Austria, connect the Bene Logo with so-called "Bene-folders". True connoisseurs of the brand, however, know that these folders have only little to do with the core range of the office furniture manufacturer Bene. Why then are these two logos so similar?

Thinking like a designer

PARCS Toguna

Solving problems and creating innovation are desires shared by EPUs, start-ups and companies with hundreds of employees in any sector. But how? That's the question that "Design Thinking" tries to answer in a holistic way.


Design Thinking? Never heard of it? Probably not quite true. Even if the term initially brings up only question marks, all of us will have had something to do with Design Thinking - maybe without even knowing it. Workplaces have changed drastically in recent years. It's not only the internet that has opened a vast number of new options - especially with regards to cooperation and co-creation , team and project related work is frequently the topic for discussion - but also in the "analogue" world. If you add to this: innovation, interdisciplinary nature and user oriented design, then you get pretty close to what Design Thinking is.
 

What is it?

Let's start again from the beginning: Design Thinking initially simply means to "think like a designer". That is, to use the methods which (industrial) designers use in their work and to apply it to other areas. The term is probably most often connected to the Californian company IDEO, who first marketed the Design Thinking system and uses it themselves. Flat hierarchies, project related team work and creative courage are part of a normal day in the office at IDEO - a core task of the company is to also teach this to others.

225 years of Bene - a short company history in ten parts

225 years of Bene

Bene celebrates its birthday. Founded in 1790 by Michael Bene as a small carpentry workshop in Waidhofen an der Ybbs, the company has now , 225 years later, 80 subsidiaries in 37 countries. 225 years of family history, 225 years of office history, 225 years of Bene history. Happy Birthday Bene.
 

Part 1: The name Bene

in 1790, when Michael Bene founded the small carpentry workshop in Waidhofen an der Ybbs, he most likely did not expect that this business would still exist 225 years later at a scale which was hardly imaginable back then .

The carpentry workshop was extended more and more over the years. In 1951, the business switched to industrial production and instead of household furniture, it switched to business only office furniture. In the 1980s, the company started its internationalisation by Manfred Bene, the owner at the time. He is on the supervisory board of Bene AG today and still connected with the company.

The labyrinth of innovation

Bene AG

The word "innovation" has maybe left its worst or best times behind - it depends on how you look at it. It has lost its buzzword status, i.e., its ability to impress simply when mentioned. In recent years it has been too frequently used by the business and advertising world in order to present a product, idea or process in a better light than others. The adjective "innovative" as it is often and happily used today is characterised mainly by one thing: its positive connotation. We meet this word frequently in our daily lives and it may even get on our nerves - after all anyone who ever had to do a project application may have been asked to demonstrate the innovation in their idea. Yet, innovation means renewal - after all that's what the word really means - and we interpret this as progress.
 

And why shouldn't we?

It could be that the people who are currently setting the pace in media, business, politics and advertising and therefore influence such connotations. It does not matter if they have been in their career for only a few years or are at the end of their professional life. All of them have seen a dramatic bandwidth of great innovation or at least have information about it and are benefiting from the fruits of these achievements in our most recent history. Even someone who is only 20 today can remember a time before Facebook and smartphones. Large parts of the population can remember what life was like without the internet and the opportunities it offers today. Put into this context, the positive charisma of the word "innovation" becomes even clearer. It is hardly surprising that technical developments which make our (working) life easier are met openly and positively. After all, we receive great benefits from them. However, it does take a certain time for the long term effects to manifest. Technical advancement can also have downsides - data monitoring, drones, weapons made in 3D printers for example. All of these are phenomenons which are not directly the fault of the innovation per se, but still a possible result.

Thomas Fundneider, Markus Peschl, TheLivingCore and University of Vienna

Thomas Fundneider, Markus Peschl

Work and lifestyle on the cutting edge. In discussions with contemporary figures we review the assertions, clichés and ideals which circulate around work environments. This time Désirée Schellerer und Angelika Molk asked Thomas Fundneider and Markus Peschl, the Knowledge and Innovation Architects, some questions. In this interview, they tell us about spaces which allow innovation and the fear of the new. Furthermore, they show us what makes an office into an oasis in the wilderness.

DI Thomas Fundneider, MBA
is Managing Director of theLivingCore and an expert for innovation and strategy. He uses his varied experience in setting up innovation culture within organisations to create sustainable impact for his clients. He also teaches at several European universities.

Univ. Prof. Dr. DI Markus F. Peschl
is Professor for the Philosophy of Science and Cognitive Science at the University of Vienna. His research focus is in the interdisciplinary area of creating knowledge in cognition, science and organisations, knowledge management, enabling spaces and (radical) innovation.


Our magazine deals this month with the topic of "New". On the one hand, "new" has a positive connotation and stands for progress, change and improvement. On the other hand, there is always also a bit of scepticism. How do you see it, specifically based on your research work?
Markus Peschl: It is a curious thing with the "new". It gives us awe and joy, yet at the same time it triggers a certain basic fear since we are suddenly confronted with something that does not fit into any of the categories known to us. You then often reach the point where you have to make a decision: Do I pursue this new thing or do I rather leave it alone. Innovators, entrepreneurs or more artistic people want to track and experience this new thing. The initial awe leads the way to more questions. This brings you closer to an understanding but also to the insight that certain things simply have to remain open, they cannot be explained. And this is exactly where the potential can be found for creatively handling these insights and making way for potential innovations.


Is there a difference between innovation and "new things"? And if so, how would you define it?
MP: Innovation is when something new is implemented into something that shows success and effect. New things that have success in their environment are innovations.

Work in Progress: Jobs in the 21st century.

Bene AG

Who would have thought 50 years ago, that today you no longer need a single typesetter for newspaper and book production, yet another industry will earn really good money with the development of games and moving images? Or that companies who work in a field to reduce energy consumption will provide just as many jobs as companies that work in the field of traditional fossil energy. Well, some things have changed rather rapidly in our Brave New World and 1984 is a thing of the past. A glance ahead into our near future of job trends forms the conclusion of our "Work in Progress"-series.

In the "past" everything was different and maybe things really were easier in the "olden days". You did an apprenticeship or a degree and often stepped happily into the footsteps of the previous generation and gained a feeling of security. And you stayed in this job. For decades.

When was this "past"? Good question. Apparently it has not been that long ago. What we can describe much easier on a time axis, however, is that today we have a greater diversity of training options and jobs. To confirm this simply have a quick look at career platforms or university directories. Eureka!
 

Jobs are always situational.

If our living conditions change, then our jobs change too. If you want to learn more about current or future jobs, then it makes sense to find out more about the essential factors which influence our societal developments.
One of the so-called "mega trends" is surely the demographic and social change.  Based on the total population of Earth, the number of people on this planet keeps growing (145 babies born every minute), however, in many countries the birth rates are declining and existing society becomes older and older.

Work in Progress: The Carpenter

They are and always have been profound experts and sought after craftsmen, or even celebrated artists or functionally-aware designers. Their material comes from nature and what they manage to create from it bears eloquent witness to human culture. There has rarely been a profession which has been able to stay so important without losing touch with the present.

The conditions are naturally perfect. Wood, in addition to stone and metal, is amongst the most important materials of humankind in almost any place of the world. Even the industrial revolution of the 19th century did not put a sudden stop to this. 
The early machines usually still had wooden frames or wooden mechanisms. Only with an increase in requirements for wear strength or load torques did iron managed to oust wood from its dominating position in favour of greater load bearing strength and breakage resistance.
 

And in the beginning there was…

One of the first and at the same most impressive traditions in elaborate wood art dates back to Egyptian times as one would expect from the ingenious Egyptians. In 3,500 B.C., the Egyptians already recognised how versatile wood was and how is easy it is to work.  Veneer technology was already used for ships, buildings, furniture and objects for daily use and a type of plywood was developed. The sarcophagus of the god-king Tutankhamen is a special example for early craftsmanship.
The wood craftsmen of the Greek and Roman empires perfected these work techniques mainly by developing new tools. Amongst others, the plane as we know it today was finally developed from little spades which were used to smooth the wood. Furthermore, not only domestic woods were used but for special purposes rare and exotic woods were processed thanks to the active trade in the ancient world.

Jacob Holm, CEO Republic of Fritz Hansen, Allerød, Denmark

© Republic of Fritz Hansen

Work and lifestyle on the cutting edge. In our conversations with contemporaries, we examine the claims, clichés and ideals surrounding our workplaces. This time we speak with Jacob Holm, President and CEO of Fritz Hansen. In an e-mail interview, he talked about Fritz Hansen’s design DNA, explained why Danish design is so popular and told us what makes employees creative.

Founded in 1872 by the carpenter Fritz Hansen as a carpentry workshop, today the Republic of Fritz Hansen is known all over the world. The Republic of Fritz Hansen works with internationally selected designers and architects. Thanks to creative partnerships with visionaries such as Arne Jacobsen, Hans J. Wegner and Poul Kjærholm, Fritz Hansen has created a number of trendsetting, technically revolutionary and functional furniture classics which became classics. New creations also demonstrate the innovative power of the brand: The success of the models FAVNTM and RoTM by Spanish top designer Jamie Hayón or the series minusculeTM by Cecilie Manz are testimony to their flair for design and materials.

Fritz Hansen is famous for a number of iconic design classics, but you also work with contemporary designers a lot. How do you connect past and future? How can one move into the modern world without breaking with the past?
I wouldn’t distinguish between design classics from the past and new design for the future – at Fritz Hansen we are keen to ensure there is a common thread running through our “design DNA”. It is important for us to design new things that can stand next to pieces that are 50 years old – for example, take our combination of a new table by Jaime Hayon with a 55-year-old Arne Jacobson design!


What do you like most about your work?
I really like to work in a highly internationally-orientated environment and with Fritz Hansen exports at 80%, it means I am travelling a lot. At the same time I really like the combination of business and design – it is a privilege to work with design and innovation.

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