7. Put mirrors up
Mirrors can change the whole look of your workspace. They make your office more refined and professional and can make any type of space look bigger, causing your workspace to feel more open and inviting.
Bonus: Now your coworkers don’t have to go to the bathroom every time they need to double check their appearance before a presentation.
8. Add a funky accent table
To some people, abstract art can be distracting, but if placed in the right room at the right angle, a funky accent table can make for a seriously cool centerpiece for your office, and often times acts as a great conversation starter when welcoming new clients.
9. Color code your office supplies
Not only do matching pencil holders and staplers make you look organized, they also keep you organized. Some colors are even proven to enhance your critical thinking skills.
Color can profoundly affect how productive you are. Scientific research has shown that blue colors affect your mind, red your body, yellow your emotions and green your “balance.” By combining these colors, you can greatly influence your work behavior.
If you need to be creative, try utilizing the color purple. The blue and red hues get your brain synapses firing as they produce a mind and body experience.
If you Google “most productive color,” you will find many results that suggest the answer is blue. If you do mind-work all day, experts recommend painting your office blue and spicing it up with a bit of orange. This evokes emotion into your mind-stimulating room.
This article explains it well.
10. Break up spaces with dividers
Open office environments offer more than a modern workspace look. Breaking down walls increases communication and collaboration among team members, giving the entire workspace an overall synergetic feel.
This way, team members feel more apt to jump into conversations because the atmosphere is welcoming and informal.
11. Evaluate your office vibe
Speaking of office atmosphere, each space in your office should have its own feel.
You might want your conference room, for example, to have a more serious, get-down-to-work feel. So having a neutral color scheme and more professional-looking furniture would make the most sense here.
Meanwhile, you probably want your breakroom to elicit fun and laughter, so adding bold colors, eclectic furniture and dart boards would be appropriate. Find some awesome office furniture solutions from our friends at Calibre.
12. Paint an accent wall
To add some look-at-me color to your space without overwhelming your senses, paint one wall with a bright or accent color, then leave the rest of the office light and neutral.
How to Choose an Ergonomic Office Chair
It may not seem like a big deal, but selecting the right ergonomic chair for your desk or office can make a difference in your health and comfort. Sitting for extended periods of time can put a large amount of stress on the back and spine, which can result in back problems and serious discomfort. Learning more about how to select the proper ergonomic office chair can help you avoid these health issues, improve your posture and stay comfortable throughout your work day.
Evaluating the Chair's Adjustment Capabilities
Look for the ability to adjust the chair's height. The height of your ergonomic chair should be fully adjustable. The chair's seat should be easy to move either upwards or downwards. This adjustment will allow for people of different heights to comfortably sit in the chair. Make sure you can adjust how high or low the the seat is before purchasing your chair.
A seat height of 15” to 22” will comfortably seat a person between 5'0" to 6'4" tall.
Most chairs will offer only a small range of adjustment.
Your feet should be able to sit flat on the floor while your knees are bent at ninety degree angles.
Consider who will be using the chair. Before you select an ergonomic chair, you'll want to think of who will be using the chair. The chair will need to comfortably fit anyone who will sit in it or be able to be adjusted to fit them. Make sure your chair is a good fit for anyone in your office before making a purchase.
The chair you are interested in should comfortably fit the person it is intended for.
Many ergonomic chairs will be adjustable enough to accommodate most anyone.
Make sure elements of the chair can be individually adjusted. A good ergonomic chair will allow you to adjust each part of the chair by itself. You should be able to move the armrests, seat and back supports independently of each other. This level of customization will allow you to make the chair a good fit for anyone that might end up using it.
You may want to avoid chairs that don't allow for adjustments.
Generally, you will want to select chairs that have a large number of adjustable features.
Evaluating the Chair's Back Support
Check the chair for adequate upper and middle back support. Proper ergonomic chairs will offer full upper and middle back support. If you are going to be sitting for a long period of time, supporting your back and its natural shape will be important in preventing injury or strain. Make sure your ergonomic chair has excellent upper and middle back support before making a purchase.
The backrest should be between 12” and 19” wide.
Your chair's backrest should support the natural curve and shape of your back.
Most backrests will be adjustable to support the contours of your back.
Examine the chair's lumbar support. Chairs without proper lumbar support will have a damaging and flattening effect on your lower back. The lower back has a natural inward curve and poorly designed chairs will cause this curve to straighten out. Make sure your chair helps you maintain your lower back's normal curvature to help your back stay strong and healthy.
Lumbar support can be adjusted by raising or lowering the chair's back support pad.
Chairs that have an unadjustable back won't be a good fit for everyone.
Make sure the backrest can be adjusted or reclined. Being able to recline or adjust the back of your chair will affect the amount of weight placed on your lower back. If you are planning on being seated for a majority of the day, reclining can help relieve pressure on your spinal discs and lower back muscles.
Avoid buying an ergonomic chair that can't recline.
Most chairs can be locked into the most comfortable reclined position you find.
Back pressure is lowest between 110° and 130° of reclining.
People with lower back injuries can benefit the most from reclining chairs.
Evaluating the Chair's Seat
Make sure the seat is the right size for you. Seats that are too big or too small can affect your comfort and health when using them for long periods of time. When you are searching for a good ergonomic chair, you'll want to make sure that the seat is right size for you or anyone using it. Keep some of these criteria in mind when judging the seat size of an ergonomic chair:
The seat should be about an inch wider than your hips.
The seat pan should be positioned just behind your knees.
Check the padding of the seat. You will likely be spending a large amount of time seated in your ergonomic chair. Because of this, you'll want to make sure that your chair is properly and adequate
ly padded to help ensure comfort and ergonomic support. Make sure the chair's seat is made of high quality foam before making a purchase.
Low quality foam can break down quickly, causing your chair to become uncomfortable.
You should be able sit comfortably in the chair for at least an hour.
Improperly padded chair seats can cause misalignments in the hips and back issues.
Consider if you can tilt the seat of the chair. Although the ability to tilt the chair's seat is often optional, you may still want to have this feature included in your chair. Tilting the chair seat can help you maintain proper posture when sitting in the chair. If you think the ability to tilt your chair's seat would help you sit more comfortably, check to see if your ergonomic chair has this capability.
Finalizing Your Choice
Try out chairs in person. Although you can learn a lot about a chair from reading its specifications, it's still a good idea to try a chair out in person. By sitting in a chair, you will be able to directly feel how comfortable it is and learn if it can be properly adjusted to your needs. Whenever possible, try to examine an ergonomic chair in person to make sure it's the one for you.
Consider the details of the chair. There are many features to consider when looking for the perfect ergonomic chair. Because there is so much to consider, some aspects of the chair may get overlooked. Think about some of the following parts of the chair you are looking at to help you finalize your choice:
Chair bases should have five spokes.
The chair's casters should move easily and freely.
If the chair comes with a headrest, make sure it's a good fit for your body type.
You may need a foot rest if the chair's height is too high and cannot be adjusted.
You'll want to think about which chair covering is best. Vinyl coverings can be easy to clean but don't breathe well. Cloth seat covers can allow for airflow but may be tougher to keep clean.
Think about different chair styles. There are many different types and styles of ergonomic chairs available. These chairs will differ from the traditional style of chair and each will have its own unique benefit and purpose. Take a look at some of these unique styles of ergonomic chairs to learn if one of them might be a good fit for your needs.
Kneeling chairs have no back and can help you to improve your posture and back health.
Saddle chairs are good choices for computer or desk work. They are shaped like a horse saddle and can help make your back stronger and healthier.
Exercise balls can help keep you moving and actively require you to stay balanced.
For people with back issues, reclining chairs with footrests can be the most comfortable choice.
Art Nouveau Furniture:
The name "Art Nouveau" is French for 'new art', and it emerged in the late 19th century in Paris. The style was said to be influenced strongly by the lithographs of Czech artist Alphonse Mucha, whose flat imagery with strong curved lines was seen as a move away from the academic art of the time. Art Nouveau furniture used lines and curves as graphical ornamentation and hard woods and iron were commonly used to provide strong yet slim supporting structures to a furniture pieces.
Because of the greater availability of a wider array of materials than ever before, and because of an ever-expanding awareness of historical and cross-cultural aesthetics, 20th-century furniture is perhaps more diverse, in terms of style, than all the centuries that preceded it. The first three-quarters of the twentieth century saw styles such as Art Deco, De Stijl, Bauhaus, Wiener Werkstatte, and Vienna all work to some degree within the Modernist idiom. The Bauhaus school was founded by Walter Gropius in Weimar in 1919. In spite of its name, and the fact that its founder was an architect, the Bauhaus was founded with the idea of creating a 'total' work of art in which all arts, including furniture would eventually be brought together. The furniture designs that emerged from the Bauhaus became some of the most influential designs in modern design.
Art Deco Furniture:
The Art Deco movement began in Paris in the 1920s and it represented elegance, glamour, functionality and modernity. Art deco's linear symmetry was a distinct departure from the flowing asymmetrical organic curves of its predecessor style art nouveau. Art deco experienced a decline in popularity during the late 1930s and early 1940s when it began to be derided as presenting a false image of luxury, eventually the style was ended by the austerities of World War II.
Born from the Bauhaus and Art Deco streamline styles came the post WWII Modern style using materials developed during the war including laminated plywood, plastics and fibreglass. In modern furniture the dark gilded, carved wood and richly patterned fabrics gave way to the glittering simplicity and geometry of polished metal. The forms of modern furniture sought newness, originality, technical innovation, and ultimately conveyed the present and the future, rather than what had gone before it as revival styles had done. This interest in new and innovative materials and methods produced a certain blending of the disciplines of technology and art. The use of new materials, such as steel in its many forms; moulded plywood and plastics, were formative in the creation of these new designs. They were considered pioneering, even shocking at the time especially in contrast to what came before.
Wood as a material
As is indicated in the preceding sections of this article, the total number of products made from wood is enormous—as high as 10,000, by some estimates. Such wide application is made possible by the versatility of wood and its many desirable qualities, such as high strength for its weight, workability, and aesthetic appeal. But wood also has certain undesirable characteristics. It can burn and decay, for instance. It is hygroscopic (moisture-absorbing), and in gaining or losing moisture it changes dimensions. As a biological product, moreover, wood is variable in quality. In order to reduce the effects of these inherent undesirable properties and also to make proper use of the many existing wood-producing plant species and produce the best possible wood quality in the forest, it is essential to understand the complex nature of this material. Such an understanding can be gained by a study of the structure, chemical composition, and properties of wood.
Structure and composition
Examination of a stump or the transverse section (cross section) of a tree trunk shows three parts—pith, wood, and bark. Between the wood and bark is the cambium, although this thin layer of tissue is indistinguishable with the naked eye or a hand lens. Pith is normally small and located at the centre of the transverse section. Wood is marked by the presence of concentric layers known as growth rings or annual rings. In temperate regions one growth ring is normally produced during each season of growth, but false rings may also be present, and in some cases certain rings may be locally discontinuous. In tropical regions growth rings are formed in response to wet and dry periods or other, incompletely understood factors. For these reasons the term growth ring is preferred over annual ring. Barring the above deviations, however, the number of growth rings, as counted in a transverse section near the ground, can be used to find the age of a tree.
Bark surrounds the central cylinder of wood. It is differentiated into inner bark, which is relatively light-coloured and conducts synthesized food from the leaves downward, and outer bark, which is dark-coloured and dry, with an insulating function (see the section Bark and bark products).
Growth rings are visible because of macroscopic differences in structure between earlywood and latewood—i.e., wood produced in the spring and later in a season of growth. The two kinds of wood may differ in density, colour, or other characteristics. In coniferous species, latewood is darker in colour and has a greater density. In the wood of broad-leaved species, the presence of pores is a characteristic macroscopic feature of growth rings.
According to the relative size and distribution of pores, woods of broad-leaved species are further classified into ring-porous and diffuse-porous types. In ring-porous woods, such as oak and chestnut, the pores of earlywood are large compared with those of latewood. In diffuse-porous woods, such as basswood and poplar, all pores are about the same size and evenly distributed.
In many tree species the central part of the transverse section of trunk is darker in colour than the peripheral wood. This inner part is called heartwood, and the surrounding zone sapwood. Sapwood comprises the newer growth rings and participates in the life processes of a tree. As the diameter of the tree increases with growth, the older, inner layers no longer take part in the transport and storage of water and nutrients and become heartwood. After a certain age, heartwood exists in all species, even though there may be no colour change.
Rays and resin canals
A transverse section of trunk also shows linear features called rays radiating from pith to bark and ranging in width from very distinct, as in oak, to indistinct to the naked eye, as in pine and poplar. Certain softwoods, such as pine, spruce, larch, and Douglas fir, possess resin canals. In a transverse section examined with the naked eye or a hand lens, resin canals appear as small dark or whitish dots.
Radial and tangential sections
Sections of trunk that are made perpendicular to the transverse section present a different picture of macroscopic features. Radial sections—that is, longitudinal sections passing through the pith—are characterized by parallel arrangement of growth rings and the appearance of rays in the form of streaks called flecks (in species with conspicuous rays, such as oak). In tangential sections—longitudinal sections cut at a tangent to the rings—growth-ring arrangement takes the form of a series of arches or parabolas.
The microscope reveals that wood is composed of minute units called cells. According to estimates, 1 cubic metre (about 35 cubic feet) of spruce wood contains 350 billion–500 billion cells. The basic cell types are called tracheids, vessel members, fibres, and parenchyma. Softwoods are made of tracheids and parenchyma, and hardwoods of vessel members, fibres, and parenchyma. A few hardwood species contain tracheids, but such instances are rare. Tracheids are considered a primitive cell type that gave rise, through evolution, to both vessel members and fibres.
The wood of softwood species is composed predominantly of tracheids. These cells are mainly longitudinal, or axial—their long axis runs parallel to the axis of the trunk (vertical in the standing tree). Axial parenchyma is present in certain softwood species, but radial parenchyma is always present and constitutes the rays, sometimes together with radial tracheids.
In hardwoods the proportion of constituent cell types—vessel members, fibres, and parenchyma—depends mainly on species. Vessel members and fibres are always present and axially oriented; axial parenchyma is seldom absent. Rays in hardwoods are made entirely of radial parenchyma cells.
Axial tracheids of softwoods are the longest cells of wood; they average 3–5 mm (about 0.12–0.2 inch) in length and are seldom more than 1 cm (about 0.4 inch). Fibres are shorter, usually 1–2 mm (0.04–0.08 inch). Vessel members vary widely in length, from 0.2 to 1.3 mm (0.008 to 0.05 inch), mainly between earlywood and latewood of ring-porous hardwoods. Diameters range, in general, from about 0.01 to 0.5 mm (0.0004 to 0.02 inch); the narrowest are fibres, and the largest are vessel members of earlywood.
All the above cells are tubelike. Tracheids and fibres have closed ends. Vessel members have ends wholly or partly open; in wood tissue, vessel members are connected end to end to form vertical pipelike stacks (vessels) of indeterminate length. The characteristic pores visible in the transverse section of hardwoods are actually vessel members. Axial tracheids in softwood species and vessel members in hardwood species are the principal water-conducting cells. Although fibres in hardwood trees may also participate in conduction, their main function is to provide mechanical support.
Parenchyma cells are bricklike in shape and very small, with a length of 0.1–0.2 mm (about 0.004–0.008 inch) and a width of 0.01–0.05 mm (0.0004–0.002 inch). They are mainly concerned with the storage of food and its transport (horizontally in the case of radial parenchyma). Radial tracheids somewhat resemble parenchyma in shape and length, although their shape can be more irregular.
Almost all wood cells, even in living trees, are dead—that is, devoid of protoplasm and nucleus. The exceptions are a few layers of young cells produced during current growth by the cambium and by parenchyma cells located in sapwood. Cambium derives by differentiation of cells of the apical meristem, generative tissue that comprises the growing tips (stem, branches, and roots) of the plant and is responsible for primary growth, or growth in length. Cambium is considered to be lateral meristem; by producing new wood and bark, it carries out secondary growth, or growth in diameter. Microscopic observation of thin transverse sections shows the cambium to be a one-cell-wide layer of dividing initials and of a small but varying number of undifferentiated derivative cells, which together form the cambial zone. Further division and differentiation of the derivative cells gives rise to wood and bark.
Observed microscopically, the cells of wood appear to be composed of cell wall and cell cavity; in dead cells the cavity is empty. Gaps of various shapes, called pits, are often seen in great numbers in the cell walls. Pits serve as passages of communication between neighbouring cells and come in pairs—one in each of the adjoining cell walls—separated by a membrane. Other microscopic features are tyloses, plugs comprising various plant materials that obstruct the vessel members of hardwoods and that form mainly when sapwood is transformed to heartwood. Under the microscope, the resin canals of softwoods are revealed to be not cells but tubular spaces between cells, lined with specialized parenchyma; they also are plugged in heartwood.
Ultrastructure and chemical composition
Polarization microscopy, X rays, electron microscopy, and other techniques provide information regarding the structure of cell walls and other features hidden to light microscopes. Cell walls are crystalline. They are composed of a thin, outer primary wall and a much thicker secondary wall, the latter made of three layers. The smallest visible building units of cell walls are the microfibrils, which appear stringlike under the electron microscope, about 10–30 nanometres (billionths of a metre) in diameter and of indeterminate length. The orientation and weaving of microfibrils varies; this makes possible the distinction of three layers (called S1, S2, and S3), with the microfibrils having an axial direction in the middle (S2) layer and a generally transverse direction in the outer layers. The inner surface of cell walls is covered by a warty layer. Pit membranes vary in structure; in softwood tracheids they possess a central thickening (torus), whereas in other cell types they are made of randomly arranged microfibrils.
Chainlike cellulose molecules, which constitute the microfibrils, provide the skeleton of wood. Noncellulosic constituents (hemicelluloses, lignin, and pectic substances) are located among microfibrils but do not form microfibrils. Cellulose is mostly concentrated in the secondary cell wall, and lignin in the middle lamella, the layer that separates the walls of adjacent cells. Quantitatively, cellulose and the other chemical constituents are contained in wood in the following proportions (in percentage of the oven-dry weight of wood): cellulose 40–50 percent (about the same in softwoods and hardwoods), hemicelluloses 20 percent in softwoods and 15–35 percent in hardwoods, lignin 25–35 percent in softwoods and 17–25 percent in hardwoods, and pectic substances in very small proportion. In addition, wood contains extractives (gums, fats, resins, waxes, sugars, oils, starches, alkaloids, and tannins) in various amounts (usually 1–10 percent but sometimes 30 percent or more). Extractives are not structural components but inclusions in cell cavities and cell walls; they can be removed without changing the wood structure (see the section Extractives).
Variation of structure and defects
Because of differences in cellular composition and arrangement, the structure of wood varies among species. This variation influences appearance and properties and makes for a wide choice of woods for different uses, and it provides the basis for wood identification. Variation also exists among trees of the same species (because of environmental and genetic influences) and within a single tree. Characters that vary within a tree are mainly cell length, proportion of latewood, angle of microfibrils, and proportion of cellulose. In most woods, from the pith outward, their values all increase progressively and rapidly until, after a number of growth rings (20 or more), they attain a “typical” level; in the outer rings (200th and beyond) of very old trees, they decrease again. The atypical wood near the pith is called juvenile wood, having been produced in the earliest stages of tree development. Another source of variation is the progressive formation of heartwood from sapwood by deposition of extractives and structural changes.
Relatively more important from the practical point of view is variation caused by the presence of defects such as knots, spiral grain, compression and tension wood, shakes, and pitch pockets. Knots are caused by inclusion of dead or living branches. Because branches are indispensable members of a living tree, knots are largely unavoidable, but they can be reduced by silvicultural means, such as spacing of trees and pruning. Spiral grain is the spiral arrangement of cells with respect to the tree axis. Compression and tension wood are structural abnormalities in trees (softwoods and hardwoods, respectively) that are caused to deviate from their normal, vertical position by wind or other forces. Shakes are separations of wood tissue, and pitch pockets (in softwoods with resin canals) are separations filled with resin. Defects, depending on their kind and extent, can adversely affect the appearance, strength, dimensional stability, and other properties of wood.
Properties of wood
Sensory characteristics include colour, lustre, odour, taste, texture, grain, figure, weight, and hardness of wood. These supplementary macroscopic characteristics are helpful in describing a piece of wood for identification or other purposes.
Colour covers a wide range—yellow, green, red, brown, black, and nearly pure white woods exist, but most woods are shades of white and brown. Variations may show on a single piece of wood, depending on colour differences between heartwood, sapwood, earlywood, latewood, rays, and resin canals. Natural colour is subject to change by prolonged exposure to the atmosphere and by bleaching or dyeing. Some woods (for example, black locust, honey locust, and several tropical species) are fluorescent.
Natural lustre is characteristic of some species (for example, spruce, ash, basswood, and poplar) and more prominent on radial surfaces. Odour and taste are due to volatile substances contained in wood. Although difficult to describe, they are helpful distinguishing characteristics in some cases. The term texture describes the degree of uniformity of appearance of a wood surface, usually transverse. Grain is often used synonymously with texture, as in coarse, fine, or even texture or grain, and also to denote direction of wood elements, whether straight, spiral, or wavy, for example. Grain sometimes is used in place of figure, as in silver grain in oak. The term figure applies to natural designs or patterns of wood surfaces (normally radial or tangential).
As sensory characteristics, weight and hardness are included in a diagnostic rather than technical sense—weight as judged by simple hand-lifting and hardness by pressing with the thumbnail. Common temperate-climate woods range in weight from about 300 to 900 kg per cubic metre (about 20 to 55 pounds per cubic foot) in air-dry condition, but lighter and heavier woods exist in the tropics, ranging from 80 to 1,300 kg per cubic metre (5 to 80 pounds per cubic foot) for balsa and lignum vitae, respectively.
We all know being in a comfortable, inviting atmosphere plays a huge role on our overall mood and productivity, but did you know that a well-designed office space can make an impact in the success of your business?
The most productive offices balance the comforts of home with a professional business image. Aka a stylish setting full of color, life and inspiration leads to a happy, healthy work environment for your team members to thrive in
Your office should embody your company’s values in a way that makes everyone at work feel great. You don’t want people walking into the office with a bad first impression because the office design needs a facelift.
Take these 36 office decor ideas to adorn your office with elements that keep you and your team productive, inspired and motivated every day.
1. Make your company’s mission statement visible
Think about creating an enlarged picture of your company’s mission statement and plastering it in a common area.
Seeing your company’s mission on display every time you walk to the printer can be an effective way to showcase the values your business embodies, and a great reminder to carry them out.
Something like this:
Take customer success personally
Build products we’re proud of
Learn fast, act faster
2. Connect with your local arts community
Use your office decor as an excuse to support some local artists. Check out galleries in your area to find artists who create artwork that fits with your office style, and see if they can customize some pieces for you.
Depending upon what line of work you are in, this could also give you a tailor-made way to extend your company’s marketing message to a whole new audience.
3. Integrate your brand colors
When choosing a color scheme for your space, incorporate your brand’s colors so your space really upholds a consistent style reflective of what you and your business are all about.
The right colors can have a powerful psychological impact on people, causing them to feel happier.
4. Outline different spaces with rugs
Rugs are a great way of outlining various spaces without creating physical barriers. If you have a larger space with multiple sections, separate those areas with rugs.
Or, if your office is smaller, you can still add rugs. Put them underneath furniture to act as nice accents or add one directly outside of your office doors. Even one or two can really liven your space up.
5. Hang large works of art
Art can make your workspace look a lot more interesting and thoughtful. Keep it simple with black and white wall hangings or go bold with vibrant, eye-catching works that brighten your day every time you walk past them.
6. Add unique furniture
There are so many options for swagged out couches, chairs, tables and the like these days. From animal print ottoman chairs to architectural chaise lounges, you will find some furniture that speaks to your brand, guaranteed.
Online furniture sites like Wayfair and Houzz are great go-tos for unique pieces.
Across the water in the United States, during the early Colonial period, most furniture arrived along with the first immigrants. They brought furniture pieces typical of the Jacobean and Carolean periods in Britain with them, and then later made their own furniture in a similar style. These pieces were generally sturdy and heavily carved, many with turned legs and bun feet. In the harsher environment of some of the Colonies these pieces were simpler representatives of their parent styles, befitting the more straightforward and utilitarian life of the settlers
Other settlers also brought their influences with them to the colonies, most notably the Dutch and French in the North east, and the Spanish in the South west. Although recognisably different from the British inspired designs, the Dutch pieces are essentially in the same tradition. However the different climate and different wood available to Spanish colonists led to a distinctly different style known as Mission or South western.
The earliest American-made piece of furniture is a chest made by Nicholas Disbrowe around 1660. Uncompromisingly rectangular, its distinctively carved frame-and-panel construction, although very reminiscent of earlier British Age of Oak pieces, is already recognizable as a distinct American style. Many other early Colonial era pieces, such as wainscot chairs and heavy joint-tables, are similarly in the Age of Oak tradition.
In the eighteenth century, furniture design began to develop 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 commonplace throughout Western Europe. In reality the term '18th-century furniture' therefore refers to a wide variety of styles including William and Mary, Queen Anne, Georgian, Chippendale, Hepplewhite, Sheraton, Adam, Regency, Federal, and the French periods of the several Louis, Directoire, and Empire.
While seperate, all 18th-century furniture, whether American, British, or French shared a similar style of construction that is distinct from the subsequent mass-produced furniture of the 19th century. Eighteenth-century furniture is commonly thought of as representing the golden age of the highly trained master cabinetmaker, trained in the craft of furniture design which manifests in highly finished, sophisticated designs.
The 19th century was marked by the Industrial Revolution, which caused profound changes in society. With increasing working populations in cities, the rise of a new class of wealthy of furniture buyers, together with the arrival of mass-production and the demise of the individual craftsman-designer, the gradual progression of furniture styles that had developed through the previous centuries was replaced by a raft of imitation or revival styles. These concurrent revival styles, including Gothic revival, Neoclassicism and Rococo revival became easy and inexpensive to manufacture as technology developed during the industrial revolution.
With mass-production technology in place it was a simple matter to graft historically correct ornaments onto all sorts of furniture, thereby making possible for the creation of a continual stream of revival styles to meet the demands of the public. The result was a century of furniture whose common denominator was excessive ornamentation in the form of applied metal or wood carvings, inlays or stencils.
cking at the time especially in contrast to what came before.
Shopping for office chairs online in India offers you many choices; however when you buy office chairs online, it is best to ensure that they come fitted with a chair mechanism.
Among the major advanced ergonomic features that truly make your office chair truly ergonomic is the chair mechanism, which controls how the seat and back of your office chair move. Office chairs in India come with different types of chair mechanism that include full-swing chair, synchro-tilt, dynamic and knee-tilt. However synchro-tilt mechanism is the most popular chair-mechanism fitted to most of the ergonomically designed office chairs
What is Synchro Mechanism in Office Chairs?
In ergonomic office chairs with synchro-tilt chair-mechanism, the seat and back are linked, however they tilt independently as you lean back (the usual fixed ratio being 2:1). Thus for every 2 degrees of backrest movement, the office chair seat moves 1 degree. Typically most of the controls to adjust the chairs are located underneath the seat where the user can easily configure them for better comfort. This ability of the back and seat to synchronize individually allows user to tilt even while resting their feet on the floor.
Synchro –tilt mechanism demands that the seat have a waterfall seat design to avoid unnecessary stress on the thighs when you recline on the chair. Synchro-tilt mechanism introduces some of the most important ergonomic features in your chair for better adjustability. These include:
Office Chairs Seat Height Adjustment:
Since the seat and back are interlinked, your chair has a gas-lift underneath your chair with an attached lever to raise the chair or lower the chair to your preferred height.
Waterfall Seat Design:
Yet another essential feature of ergonomic office chairs with synchro-tilt mechanism, water –fall seat design avoids stress on the thigh region when tilting backwards and the open seamless construction helps stimulate blood circulation in order to reduce stress on the lumbar region.
Office Chairs Seat Back Tension & Tilt Control:
This feature determines the resistance of back of the chair and is managed using a knob or lever. So whether you want to recline or sit back straight, you simply have to rotate or pull the knob. This feature also allows you to adjust the recline angle of your office chairs to your desired requirement.
Choose India’s leading office chair suppliers to buy office chairs online in India that match world-class standards and assure you ultimate seating comfort
Furniture Design History
Padraig Cahill March 03, 2016
Furniture design has been a part of the human experience since the beginning of history. Evidence of furniture survives from as far back as the Neolithic Period in the form of paintings, wall Murals discovered at Pompeii, in sculpture and examples have also been excavated in Egyptian Pyramids and found in tombs in Ghiordes (modern day Turkey). These notes will track the main advancements, developments, styles and materials in furniture design highlighting the identifying features of each period, the materials used and show images of some of the most significant pieces of furniture ever designed. The furniture design timeline below outlines just some of the different periods of furniture design and gives you a basic overview of the timeline of furniture design history. Choose from the menu below to look at one furniture design period in more depth.
This article discusses the following historical periods of furniture design...
Neolithic Period Furniture:
A excavated site dating from 3100-2500 BC in Skara Brae, Orkney uncovered a range of stone furniture. 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 turned into items for use within the household. Each house was equipped with an extensive assortment of stone furniture, ranging from cupboards, dressers and beds to shelves and stone seats. The stone dresser was regarded as the most important as it symbolically faced the entrance in each house and is therefore the first item that was seen when entering a house.
Ancient Egyptian Furniture:
The hyperarid climatic conditions of Egypt since the third millennium BC are perfect for the preservation of organic material. Thanks to these conditions Ancient Egyptian furniture has been excavated and various sites and includes 3rd millennium BC beds, discovered at Tarkhan, a 2550 BC gilded bed and chairs from the tomb of Queen Hetepheres, and boxes, beds and chairs from Thebes. There were two severe sides to the furniture excavated, the intricate gold gilded ornate furniture found in the tombs of the Pharaohs and the simple chairs, tables and baskets of the ordinary Egyptians.
Ancient Greek Furniture:
Ancient Greek furniture design can be dated back to the 2nd millennium BC, including the famous klismos chair. The furniture designs are preserved not only by the examples still in existance, but by images of them depicted in Greek vases. In 1738 and 1748 excavations of Herculaneum and Pompeii revealed perfectly preserved Roman furniture. The ashes from the eruption at Mount Vesuvius preserved the furniture from 79 A.D. right up its excavation in the eighteenth century. Characteristic of this early furniture were highly influenced by the furniture of the ancient Egyptians with a stiff, rectangular, and unflattering shape. In the 4th and 5th centuries, once the Greeks developed their own style, furniture became less square and rigid and more curved and flowing.