Workstation Components Defined

Get a better understanding of the features to consider when buying and selling used office furniture. This is a simple guide to help BUYERS and SELLERS understand the terms used to describe workstation components.

The very first thing everyone needs to know about used office furniture: DON’T COUNT ON  KEYS included with used workstation storage components.

KEYS & CORES are installed in new furniture after the workstations have been assembled. Removing the KEYS & CORES before the workstations are disassembled, labeled and bagged in sets is not something an installer does unless they’re directed to do so ahead of time. The reality in most cases is keys can not be located, the process of removal cores is often skipped or not applicable if the used furniture has been reconfigured without keeping KEY SETS in tact.

Specifying keys with the same number for all of the locks in a workstation is called KEY ALIKE. If KEY ALIKE is a feature you require, we recommend purchasing sets of matching cores and only 1- or 2 keys for each number separately. The LOCK CORES fit inside the lock fixture in the furniture. The LOCK CORES can be changed to matching sets with a REMOVAL TOOL.

Something else to consider is limiting the key numbers to 10 or 20 different numbers. It’s a lot easier to manage lost keys and most end users don’t ever realize they may have the same key as their neighbor.

 

HELPFUL HINT:

KEYS, CORES and REMOVAL TOOLS for every major furniture manufacture are available to order on line from EASY KEYS. The one thing you won’t be able to find at EASY KEYS is a MASTER KEY. Don’t worry, we can help you buy a MASTER KEY and figure out the rest. Project Management and Move Coordination is what we do!

1. Open Shelf 2. Closed Overhead Bin 3. Freestanding Storage Tower 4. Box/Box/File Pedestal 5. File/File Pedestal 6. Lateral File

Open Shelf with 1/2High End Panels

The OPEN SHELF comes with either FULL HEIGHT or HALF HEIGHT END PANELS depending on the manufacture. OPEN SHELVES work well placed next to the OVERHEAD BIN in the corner of the workstation making the contents easy to reach.

TASK LIGHTS that attach to the underside of the overhead storage components is another item that should be described. We recommend not installing TASK LIGHTS over the corner work surface as there’s not much of a benefit illuminating the monitor screen from above.

Both OPEN SHELVES and CLOSED BINS should always be located above a work surface so it doesn’t become a head knocker. The work surface helps keep your head away from hitting the overhead.

The CLOSED OVERHEAD STORAGE BIN is also know as a FLIPPER DOOR by some in the business. “Flipper Doors” for the OVERHEAD BIN are designed to retract inside the shell of the bin, exposing the entire opening at once. Other style flipper doors retract above the bin, preventing end users from keeping items on top of the bin. This style could be good thing to reduce clutter in the office landscape.

Most furniture designers place closed door bins in easy to reach locations, over return work surfaces for example.

Closed Overhead Bin

The HINGED DOOR option is usually found on OVERHEARD BINS in private office furniture or STORAGE CABINET designs. They offer a more traditional look, but can be cumbersome to find what you’re looking for.

OVERHEAD STORAGE designs have been updated to include a variety of closed and open combinations with sliding doors. They may also feature frosted glass and writable marker board surfaces.

Storage Tower

The STORAGE TOWER is available with several combinations of storage options. PERSONAL TOWERS most often include a wardrobe section to hang jackets much like LOCKERS. Some designs can have a variety of openings, doors and drawers. STORAGE TOWERS and/or LOCKER applications are popular with work styles that require a one size fits all unit. STORAGE TOWERS with casters can be found out there in the used marketplace, designed to move with the end user to a new location.

Also keep in mind, the designs of STORAGE TOWERS, LOCKERS and STORAGE CABINETS with HINGED DOORS are “HANDED”.

More about “HANDEDNESS” to follow.

HERE’S ANOTHER IDEA :

There’s an aftermarket product we’d like to make you aware of that transforms storage doors to have writable surfaces. Office furniture manufactures like EGAN Visual offer vinyl marker surfaces that can fasten to the face of the door magnetically or with an adhesive.

It’s a little tricky placing an order. You have to provide dimensions of the lock location and sign off a drawing to accept the design before the order is filled. Egan Versa* products can be applied to more than just storage units. Contact us for more information and more great ideas. We’re full of them!

PEDESTALS seemed to be named for the number and size of drawers. A three drawer pedestal  is known as BOX/BOX/FILE or BBF. The pedestal highlighted in the example is FIXED, meaning it does not move.

Unlike the MOBILE PEDESTAL [shown below] FIXED PEDESTALS support the work surface and in most cases DO NOT have a finished top. If you plan to use them under a height adjustable work surface you could purchase a new top, but that may be as expensive as buying a new pedestal including handling and assembly costs.

BOX/BOX/FILE or BBF Pedestal

MOBILE PEDESTALS are the most flexible storage unit in the workstation and the perfect complement to a Height Adjustable Table [HAT].

As the HAT has become more and more popular, the design of the mobile pedestal has been re-invented. The SKINNY PED provides more leg space for HAT’s typically 48″ – 60″ wide.

SKINNY PEDS are only 12″ wide, yet the FILE drawer can still hold everything a 24″ wide standard size pedestal does [SIDE to SIDE].

BOX DRAWERS are 6″ tall and most include an accessory organizer insert.

MOBILE PEDESTALS also can be specified with a cushion top for your guest to perch during their visit.

FIle/File Pedestal

FILE DRAWERS are 12″ tall and are designed to store hanging “Pendiflex” files either SIDE to SIDE or FRONT to BACK.

COMBO FILES are essentially a BBF and FF PEDESTAL combined in one file case. Also note the preferred placement of the BBF and FF combination PEDESTALS is to locate the BBF PEDESTAL on the inside of the workstation closest to the end user. The combination of 2 and 3 drawers and open case COMBO FILES, STORAGE TOWERS and LOCKERS are “HANDED”.

RIGHT HAND or LEFT HAND products are something to consider when designing your office space.

It’s very helpful to know how many RH and LH units there are in your inventory. This is a detail that should be included in the description of your listing.

STORAGE PANTRY

LOW STORAGE

STORAGE PANTRIES with a full height vertical drawer are another great storage concept that also serves as a privacy panel when the drawer is pulled out. LOW STORAGE units are designed to complement height adjustable tables. They allow the electric tables to adjust lower than normal desk height. The important thing to consider when planning with both LOW STORAGE and/or a STORAGE PANTRY is they are HANDED, meaning this will dictate the direction the table and storage will face.

LATERAL FILES are available in three common widths; 30″, 36″ and 42″ Wide. Be aware that some files like the one shown in the example are FIXED and provide support to the work surface. FIXED FILES most likely DO NOT have a finished top.

Workstations with FREESTANDING LATERAL FILES that fit under the work surface and have a finished top are more desirable. These are are some of the examples that can increase the value of your used office furniture, so please include these details when describing workstation components.

Who was Le Corbusier?

Simply put, he was a rock star in his industry. 

Le Corbusier was born Charles-Edouard Jeanneret-Gris on October 6, 1887. He was the second son of Edouard Jeanneret, an artist who painted dials in the town’s renowned watch industry and his mother was Madame Jeannerct-Perrct, a musician and piano teacher. 

Le Corbusier was a Swiss-born French architect who was part of the first generation of the “so-called” International school of architecture. Le Corbusier loved to build with steel and reinforced concrete as well as worked with elemental geometric forms.

He was an urban planner and designed entire cities in India. He ended up changing his name to Le Corbusier and did nude sketches of Josephine Baker. The man married a fashion model and later, after she died, carried around one of her vertebra in his pocket. I mean, this was a very intense guy!

In 1928 he teamed up with a couple of pals and began experimenting with furniture design.

  By 1930 he, along with his cousin Pierre Jeanneret and fellow architect Charlotte Perriand, had launched a line of furniture under the Le Corbusier name. The line has since been expanded, but the distinct chrome plated tubular steel frames of the original LC series are iconic. The LC4 lounge is one of the most recognizable chairs around and the LC-2 and LC-3 ‘great comfort sofas’ have become ubiquitous with modern design. The LC line is still produced by Cassina and the designs are essentially the same as they have been since 1928. 

How to tell an original from an imitation?

Each item from the collection is indelibly marked with the Cassina I Maestri logotype, the signature of the authors and the progressive ID production number to make each item unique. In addition, the Cassina logo can be seen on the LC2, LC3 and LC4 models. If the furniture piece does not have the signature stamp then it is counterfeit.

Cassina is the only company that is authorized to produce the authentic Le Corbusier, Pierre Jeanneret and Charlotte Perriand furniture collections. Cassina is the only company to have acquired exclusive, worldwide production rights through a license signed with the co-authors and the Le Corbusier Foundation in 1964.

A light, compact chair designed and presented at the 1929 Salon d’Automne along with other important models, such as the LC2 and LC3 armchairs, the LC6 table and the LC4 chaise-longue. As with all of Le Corbusier’s works, the LC1 derives from an in-depth study of human posture. In this particular case, the chair is intended to be relaxing and to foster conversation.

The balance between form and function is achieved through the use of the Modulor, a system based on the typical measurements of the male body and on a mathematical language informed by the proportions of universal harmony. Its perfect simplicity, suited to any context, is available in three versions. In addition to the 1929 model, there is the 1928 Villa Church option, and the one exhibited in 1930 at the Union des Artistes Modernes. The chair’s LC-Y leather and trivalent chromium plating hold Greenguard Environmental Institute certification.

Chair dimensions: 23.6″W x 25.5″D x 25.6″H

Year of design: 1928

Year of production: 1965

LC2, 1928

Timeless, unique, and profoundly authentic, the LC2 armchair has played a role in the history of furniture design, becoming a worldwide icon. Created to enhance conversation, this armchair was exhibited at the Salon d’Automne in Paris in 1929, as an archetype of the modern conception of furniture, dubbed “domestic equipment” by its creators.

The separation of metal frame from upholstery expresses the rationalist approach, this same separation responds to the logic of industrial manufacture, while also evoking the architectural relationship between the load-bearing structure and the walls. The balance between form and function derives form an in-depth study of human posture human body and through the use of the Modulor, a system based on the typical measurements of the male body and on a mathematical language informed by the proportions of universal harmony. 

Diminsions: 70.9″W x 21.2″D x 26.8″H 

Year of Design: 1928

Year of Production: 1965

LC3, 1928

The LC3 armchair marked the separation of the metal frame from the upholstery, reflecting Modernist architecture theory, where the support load-bearing structure of the building was separated from the rest. In this case, four discrete cushions are set inside a cage of painted or chrome-finished steel tubes. The same device is adopted for all the other pieces in the collection, from the armchair with an arm-rest on one side only or on both, to the two- or three-seater sofas.Over a period of many years, Cassina worked closely with Charlotte Perriand, her heir, as well as with the Fondation Le Corbusier reinterpreting the original design while respecting its original intent, to bring new versions and finishes of this furniture to market. Among these is the variant dubbed LC3 Outdoor. This has a stainless steel frame, with cushions in a self-draining polyurethane material, making it robust and reliable whatever the weather conditions. 

LC4, 1928

Designed in 1928 this chair became famous in 1965 with Cassina, the LC4 is the definitive chaise longue: built in a shape designed for relaxation, the chair was created when the three designers teamed together to put man at the centre of their design, taking the idea that form and function should be at the service of relaxation, creating a perfect balance between its geometric purity and its ergonomic intent. The stability of the frame – for any angle of inclination is guaranteed by the friction through rubber tubes that cover the cross bar of the base.

Dimensions: 64″L x 22.2″W x 10.8″H 

Year of Design: 1928

Year of Production: 1965

Step 1.

Pro-Sellers on RESEAT have the ability to provide you with a custom delivery quote at check out. Here’s how it works.

+ Select the quantity, click add to cart and head on over to check out.

Step 2.

+ Fill in all the details the seller will need to provide a quick and accurate delivery quote. If the shipping address is different from your billing address, check the box and let them know where you want them to deliver your furniture.

Depending on how complicated it is, the seller may reach out to you for more information. Seller’s take about 48hrs to respond to delivery requests.

Step 3.

+ Click on the link Request A Quote.

Your screen will refresh as the system logs your request.

That’s it.

The seller receives and automatic email from you.

Once the Seller enters the delivery cost in the system, you’ll receive and email with a link to complete your order.

 

Make any changes you need to and then repeat step 3.

We’re copied on everything and will help make sure you get answers.

The Very Firsts: Office Desk Edition
(More Interesting Than it Sounds)

It’s safe to say that desks, in general, have pretty basic uses: we sit at them, they hold our desktops, our papers, and they might even sport an occasional ring from the mug we didn’t use a coaster with (we can wipe that up later). They’re a part of our everyday work lives. You’re probably not examining your desk and wondering, “man, I could really use a breakdown of where this design evolved from,” but trust us, it’s actually quite interesting.

In the earliest commercial eras dating back to the mid-late 1800s, entire buildings were dedicated to employees’ work. Desks were essentially lined in rows with their accompanying chairs, and management’s offices were spread around the perimeter of the workplace. There was an immense divide between the employees and their management. It was crowded yet somewhat isolating at the same time. Simply put, it wasn’t very comfortable, and unfortunately, these layout designs got worse before they got any better.

A Typical Taylorist layout

I mean, look at this layout. Dreadful, isn’t it?

As time rolled on, offices began to welcome more contemporary technologies such as typewriters and telephones. Companies aimed to achieve maximum production, not totally prioritizing the comfort of their employees, let alone considering it. Desks now allowed just enough space for the mandated materials and the employees’ elbow room. Desks were, again, aligned in rows, with minimal space between each one. This layout, aimed at maximum productivity and attaining economic efficiency is understood as a “Taylorist” approach. It’s like a workaholic’s playground. 

It wasn’t until the 1940s that designers began to develop an entire world of office furniture, one that they could profit from and supply the workforce with. One of the earliest and most innovative designers is recognized as George Nelson, whose designs stand with Herman Miller and continue to draw in huge success. In fact, he is considered to have designed the very first modern workstation, known as the ‘Home Office Desk’ (K2 Space). How cool is that?

Office spaces in the 60s began aiming to achieve collaborative layouts, ones that engaged their employees in their work as opposed to isolating them. Comfort and ergonomics has also played a substantial role in desks’ design and layout, as it can be considerably difficult to sit at a ninety-degree angle for eight hours a day. That being said, their designs began to take after that of our homes to create a more comfortable space to drive productivity in. If we are sitting for that long, our workstations might as well comply with our comfort and productivity needs as much as our chairs do! 

Herman Miller Sit-To-Stand Desk

Today, desks have become incredibly protean in their designs and usage. Adore the industrial vintage look? Keep an eye out for a Steelcase Tanker desk. Prefer clean lines and modern multi-functional pieces? Look for a Herman Miller Sit-To-Stand height-adjustable table. In fact, Leonardo Da Vinci was one of the first well-known individuals to utilize a standing desk. If you’re currently sitting (or standing) at your height-adjustable desk, you might be wondering, “does that make me a dynamic polymath of the 21st century?” We’re here to tell you that the answer is yes, yes it does.

George Nelson (1908 – 1986):
“The Designer of Modern Design”

Oftentimes when we sit at our office spaces, especially in the workplace, the designer of our pieces doesn’t normally cross our minds. We sit in our chairs, at our desks, and when we’re done, get up and head out for the day. For some people, the design details of their office is probably one of the last things to cross their minds when their workday is done. 

If there was
a furniture textbook,
George Nelson would
probably be on
the cover.

Whether you’re sitting in the home office or the office-office, chances are you’ve probably encountered some of George Nelson’s designs. I mean, seriously, they’re everywhere. Most well known for creating designs for Herman Miller, Nelson’s designs range all the way from desks, to shelving, to wall clocks and light fixtures. Pretty neat variety there, huh?

I’ll use myself as an example, though in a different setting: As a student, transferring between the virtual “Zoom University” to the physical, real-life University has been quite a heavy adjustment on its own. It’s not too often that I find myself sitting at my table, socially distanced from my peers, and wonder who designed this piece of furniture that I so frequently occupy. In high school, the only designers of desks I would have assumed to exist would have been whoever wrote “so-and-so was here” on the desk. It’s been a while since high school, and my current University isn’t decked out with Steelcase height-adjustables and Aeron chairs, but I have gained a pretty solid familiarity with some notorious names in the furniture design game. 

It’s worth noting that George Nelson played quite a pivotal role in setting the scene for America’s design route after the second world war. Most recognizable for the Marshmallow Sofa and Ball Clock, Nelson worked with many other influential designers and masterminds to create a considerably solid foundation in what American furniture design was to look like in the years following. It’s safe to say that if there was a furniture textbook, George Nelson would probably be on the cover. 

Marshmallow Sofa (1956)

Nelson was born in Hartford, Connecticut, and proceeded to graduate from Yale in 1931, which, interestingly enough, was only accomplished years after seeking shelter in Yale’s architectural department from a rainstorm. Upon seeking this shelter, he became infatuated with design and the work that was on display. He quickly became committed to pursuing this as not only his field of study, but life’s work. Only a year after graduating, he was awarded the Rome Prize in architecture after competing for it. His successes unfolded very quickly upon each other in the years to come, where he became an assistant editor, and later, co-managing editor for Architectural Forum, and soon a writer for Fortune Magazine. 

As previously noted, Nelson graduated from Yale in 1931, and was an editor for several magazines by the mid-1930s. Given the historical context of the 30s, we can infer that Nelson went full steam ahead into his profession amongst one of America’s toughest hardships: The Great Depression. However, this catastrophic downfall didn’t seem to slow Nelson down in any regard. 

Nelson continued on to owning his own architectural firm alongside William Hamby, though it was soon closed down as the United States entered World War II. Upon its closing, he filled in the gaps by instructing architecture classes at Columbia University (George Nelson Foundation). While filling in these gaps during one of the most pivotal time periods for the United States, Nelson was picked up by one of the largest furniture manufacturers in the world: Herman Miller. The Michigan-based company’s president, D.J. De Pree initially fancied Nelson’s writing, and brought him on board to soon release his first collection in 1945. It wasn’t too long until he was appointed design director just two years later. 

Nelson’s designs soon began to transform the company in its entirety. He began to collaborate with other designers notorious for their innovative creations, participating in the evolution of office space design as we know it today. 

Making your return to the office can be a nerve-wracking task at the moment. We’re here to give you a preview as to what that might look like.

The impact of the pandemic has left us all quite uncertain in many aspects of our lives: the social one, the academic one, the personal one, and the professional one. How will we go about our social interactions going forward? Should I be staying six feet apart? What should I do if someone removes their mask at an inappropriate time? The answers to these questions all lie within yours or your environment’s rules and/or best judgment, but they’re all concerns many of us have.

For many of us, our work lives tie heavily into our social ones. So when we were all told to stay home in March of 2020, the adjustment was quite difficult to stay in line with. Along with that adjustment came much uncertainty, fear, anxiety, and even panic. It’s not a place we want to revisit, that’s for sure. 

As Covid-19 cases begin to surge again during these winter months, some of those elements may be coming into play for us once again. 

Many of us are wondering when it will end, when will it return to normal? For many workplaces, however, the version of normal we once knew is disintegrating, and a new normal is working its way into our schedules. 

The good news is that we can adjust to the best of our abilities to keep workplaces a safe place!

Let’s take a look at how workplaces across the country are adapting to the new normal:

Vaccination Statuses

Many employers require vaccination statuses, such as Cisco, Facebook, and Microsoft (NBC News). In addition to those who provide a vaccination status indicating they have gotten the jab, employers must also take into consideration those who have not. These individuals may include those who are pregnant, have a disability, or hold specific religious beliefs. Under the EEO laws, these individuals may not be required to be vaccinated by their employer. In this case, many employers look to require proof of a negative test weekly or daily

It is, however, worth mentioning that numerous studies have shown that vaccines do tremendously reduce one’s risk of contracting a case that results in moderate to severe symptoms (CDC). 

Hybrid Workweeks

Employees who once solely used the office as their primary workspace may find that their employers are enforcing hybrid workweeks. As the name implies, hybrid refers to some days being worked from home, and the others taking place in the office. This is in effect to potentially slow the spread of Covid-19 and its variants, alongside reducing exposure overall.

Since having every employee return to the workplace can be considered quite dangerous, the workplaces may now function with reduced capacities. This ties into how the hybrid workweek operates. For example, with X employees total, Y employees go to the office on Monday, Z employees work from home. Groups Y and Z then switch on Tuesday, and the shift continues throughout the workweek. 

Managing Equipment Usage and Traffic Flow:

Returning to work also doesn’t just require employers to consider mask usage, vaccinations, and hybrid workweeks, but to also keep tabs on the equipment and the flow of traffic. Keeping tabs on the equipment being used is particularly in efforts to identify things that may have been touched, and need to be sanitized. 

Making physical contact with high traffic items and not sanitizing them can potentially lead to infection, and not just of Covid-19, but a cold or flu. Our hands may contain 3,200 germs at one time, which belong to over 150 species (Pfizer). To combat this, proper handwashing technique is highly encouraged, and you may find that your workplace contains multiple hand-sanitizing stations scattered throughout.

Directing the flow of traffic is also a crucial part of employers protecting their employees against the risks of returning to the workplace. This is particularly in efforts to maintain social distancing. You might find that upon returning to your campus or workplace that there are many signs directing you in which path you should follow in order to reduce contact with those you might pass. 

Plexiglass screens are also a very common find when touring an office. Creating a division between individuals, they may also assist in reducing exposure rates.

There’s a lot to consider.

Whether you are an employer or an employee, the way you navigate your workplace has endured quite the shift compared to pre-pandemic. Our lives, for that matter, have endured quite the shift. It’s up to your employer to communicate with you the methods in which they will provide the safest and most comfortable workplace possible. 

It’s also best to keep the communication flowing both ways! If you have any concerns regarding your work environment, open up to your boss or colleagues; you may find that you share similar concerns!

Maybe you’ve seen it: the Knoll Cesca chair

It’s en enormously acclaimed chair, unmissable with its clean, tubular framing design and material with a woven-like finish, termed as cane detailing. With or without the arms, its geometric lines empower the eye to trace the frame up and down, allowing its user to take in the esteemed simplicity of the chair in its entirety.

The Cesca chair was born into an early 20th century architectural style recognized today as Bauhaus, which essentially combined crafts with fine arts. Therein rose an innovative approach of architecture that combined the genuine rawness of craft materials and the impeccable elegance of fine arts. 

If it’s spotted in today’s spaces, I view it as having a retro, mid-century feel; one that feels comfortable and familiar. In the recent months, I have heard several peers of mine mention these chairs erratically as something they might consider adding to their space. Taking into account their iconic popularity, I thought it best to delve into the designer of the piece itself: Marcel Breuer. 

Born in the Spring of 1902 in Hungary, Breuer was an acclaimed carpenter by his early 20s. His creations extend a capsule representing that of classic Bauhaus style: renditions of the arts and the industry. His primary focus in one of his earliest collections revolved around metal tubular design, roused by bicycle construction and techniques primarily utilized by plumbers (Knoll). Other designs of Breur include the Chaise lounge chair and the Canteen stool. 

Though he was considerably acclaimed in his artistic design career, Breur ended up pursuing a larger architectural pathway. One of his most esteemed independent showcases was at the Whitney Museum of American Art located in New York City. Prior to achieving this honor, he professed at Harvard’s School of Design.

Breuer produced other modern classics such as The Wassily Chair and the Laccio table, which stand as pivotal designs in the early 20th century.

The Cesca chair itself was conceived with the intention of being innovative in its material and the design principles overall. Breuer set out to utilize material that would be easily produced, but that could also exhibit a thoughtful and calculated finish. The metal tubular design by Breuer was very heavily inspired by, as previously mentioned, bicycle construction and plumbing techniques. This unlikely point of inspiration yielded the Modernist furniture moment Breuer had envisioned.

The Cesca chair has not always been known by this name, however. It was originally recognized as the B32 chair. During the early-1960s, an Italian furniture manufacturer known as Gavina Group received the rights to the B32 chair’s design. The chair was renamed by the company’s founder and owner, Dino Gavina, who named it after Breuer’s own daughter, Francesca (Knoll). Admirable as a decision in itself, Gavina was able to achieve an ode of sorts to the chair’s original designer, alongside Breuer’s own daughter. In a way, it kind of maintains the notion that the Cesca chair is not only a design of Breuer, but a descendant or scion of sorts. 

Since then, the Cesca chair has taken different forms, maintaining the same bones and varying upholstery and colors. It comes in a variety of combinations: According to our very own marketplace, the Cesca chair can be found with cane seating and backing, or with the seating assorted between cane or fabric upholstery. They can be customized to be with or without arms, or fit to bar height.

A gaze into the future of furniture manufacturing

One of the most notable elements of our story here at Reseat encompasses the journey that founder and CEO, Brandi Susewitz, made throughout her endeavors in the office furniture industry. 

Time and time again, she saw buildings be liquidated, their contents thrown to the landfills despite their like-new condition. Seeing those kinds of patterns recur perpetually can notch quite the pit in your stomach, knowing that furniture that’s built to last is only carrying out a single life.

The most jarring piece of data that we hold high in referencing just how corrupt this industry has been in regards to its circular economy is this:

17 billion pounds of office furniture ends up in landfills each year. ”

Davies Office

That’s why if you’re a facilities manager and are set on a mission for furnishing your office space, it’s crucial that you consider pre-owned pieces. You can create an environment in which the furniture tells a story, its second or third or fourth life becoming an active element of your workspace and part of your productivity. Not only can you create this illustrious space, but you can sleep with the satisfaction of knowing that you prevented some furniture from wasting away in landfill. 

It’s no secret that we’re familiar with spaces consisting of pre-owned pieces, but what about furniture that’s made from pre-owned pieces? You know, like recycled materials? Those are very much alive and thriving now!

Humanscale is a company that has been producing furniture for the office industry since the early 80s, and continues to produce furniture whose designs are thinking ahead, considering not only the ergonomic factors, but the environmental ones as well. 

In 2018, they debuted a line of chairs made from recycled fishing nets that might otherwise float aimlessly in the ocean or sit in a landfill. This is so incredibly innovative, especially for this industry. Materials like fishing nets are a great thing to recycle because they take nearly 600 years to decompose, shedding microplastics along the way (UN Environment Programme).

They also utilize recycled aluminum for the bones of many of their chairs, which is also a groundbreaking move for not only the company, but the entire office furniture industry. Aluminum is an excellent selection when deciding on renewed materials, as it is very easily recycled, strong, and therefore long lasting.

Another furniture manufacturer we love to see succeed in creating products from renewed materials is Emeco, who, in 2006, was approached by Coca-Cola who hoped to collaborate on creating furniture from recycled bottles (Emeco). 

Through the four years of trials and tribulations in creating a chair from entirely renewed materials, they landed on a scratch-resistant, durable piece recognized as the 111 Navy. Throughout the production, the company has amazingly prevented over 15 million plastic bottles from entering landfills.

Emeco & Coca-Cola, “111 Navy” Chair, made from recycled Coke bottles.

Humanscale and Emeco are just a few of the high-end names in the office furniture world who provide incredibly innovative and sustainable product options. One last highlight worth mentioning is Starck, a furniture manufacturing company who has created an armchair made from plywood, grown from reforestation. 

The chair is recognized as the “Adela Rex,” assembled in pieces that fit together “like a puzzle,” free from screws empowering its occupant for simple assembly (Starck). In addition to it being an easily-assembled piece, it is also produced with sustainability in mind. Aside from the eco-friendly aspects of this piece, the chair itself sets an earthy tone to the office environment, which is something the company values in this design.

Furniture itself can bring a lot to any space, especially pre-owned pieces. Creating pieces from preexisting or sustainable materials, however, is a method slowly being popularized among top furniture manufacturers. 

At Reseat, we love to see these pieces come and go throughout our marketplace. It reassures us that buyers are indeed taking the steps necessary to fulfill an environmentally-friendly morale.

Companies Like Herman Miller have stepped (or sat, rather) into the world of home offices post-pandemic. Here are just a few of the best chairs for your rear-end.

It’s no secret that when March of 2020 came around and we were forced to pivot many aspects of our lives to revolve around our homes, lots of adaptation came with that. In doing so, we may have taught ourselves a new skill, reconnected with old friends, or even redesigned our spaces. 

The pandemic, as we know, also induced a plethora of struggles for millions of people worldwide. As we reflect upon these struggles, we might also find that it’s worth noting the successes as well, of which involve changing the way we arrange our spaces, what furniture occupies them, what colors speak to us and can help us set into motion the best versions of ourselves.

Our founder and CEO, Brandi Susewitz, has been in the furniture industry for over twenty years. When the orders stopped coming through and all of her projects came to a halt, she and many others knew that there was some major pivoting to be done. It was time for companies like Herman Miller and Humanscale to fill the gaps and find ways to keep the ball rolling in the midst of facing a global pandemic. 

Herman Miller Embody Gaming Chair

The Herman Miller Embody Gaming Chair is one worth highlighting. Yes, a gaming chair. All things considered, this chair has got to be one of the most physically supportive seats you can take, given that it was designed specifically for a hobby that is mainly occupied by sitting down. 

Not only was it just rendered for this hobby, but its design is scientifically supported by over thirty physicians, including those with their PHDs specializing in biomechanics, vision, physical therapy, and ergonomics (Herman Miller). So, they weren’t only considering aesthetics in achieving a clean, modern look, but they designed this chair taking into consideration what gamers’ bodies need.

Humanscale Freedom Chair

Described as the “gold standard in office seating” by The New York Times, Humanscale’s Freedom Chair sure does live up to its name, allowing its occupant to move freely if they wish to recline or sit up with a simple shift in weight. It’s an ergonomically efficient chair that conforms to its user’s body, rendering it one of the ultimate comfort havens. It’s also available with or without the headrest.

The Freedom chair is also a net-positive product, meaning that it’s kind to the environment in more ways than one by being climate, water, and energy positive. That’s a major plus, right? If the decision is made that this is the chair for you, not only can you be kind to your body, but you’re being kind to the environment by purchasing a sustainably-made product.

Steelcase Gesture Chair

For some of us, browsing the office furniture marketplace to invest in a high-quality chair can be a jarring experience. To ease that pressure, Steelcase’s plethora of customization options can provide not only mental comfort, but physical comfort as well. 

Steelcase delivers on supporting practicality and your posture with the Gesture chair. Available in various customized formats including height, backing style, upholstery, framing, base, wheels, and even additional lumbar support, this chair provides you with all the options you didn’t even know you needed.

As previously noted, companies like Herman Miller, Humanscale, and Steelcase made their adjustments in marketing, targeting those who also had to make adjustments in their work life. For many, working from home involves sitting in a chair for extended periods of time, so it’s best that we take into consideration the chairs that will best support our bodies in the ways that we need.

Everybody differs in their physical needs, but one thing is for certain: everyone does need physical support. These are just a few of our highest-recommended chairs when considering ergonomic, scientific, and sustainable factors. Invest in your body, comfort, and your productivity with these picks.

If you’ve been following the blog on Reseat, we’ve highlighted just a few of the furniture industry’s most notable designers and architects; of which, however, are predominantly male. 

In the 20th century, and arguably the centuries beforehand, women were often discouraged and even barred from pursuing many artistic and design pathways. In fact, women were not considered to have had the mental capacity to follow artistic pathways, nor the same interest level as their male counterparts. If women did find success in the design and art world, it normally was attributed to the success of a man, or even denied to have been created by the woman in the first place.

Ray Eames is an example of a designer whose success went hand in hand with her husband, Charles. The postwar modernist artist very much lingered in her husband’s shadow, despite their designs being joint-operative.

Born as Bernice Kaiser in Sacramento, California, higher education was in pursuit at Sacramento Junior College, followed by attending May Friend Bennett School in New York. She went on to study painting with notable names such as Hans Hofmann, leading her into her career as an artist and soon a designer.

When she moved to New York City in the 1930s, she and Hofmann were an active part of the American Abstract Artists, who advocated for representation in art, protesting and speaking out against galleries that refused to offer any variety in representation. 

When Charles came into the picture, Ray was studying at the Cranbrook Academy of Art, just along the outskirts of Detroit. Charles, then, was involved in the department of industrial design as the head. 

At the time of their meeting, Charles was married, but soon divorced his wife and moved to California with Ray. When the two began their careers together, press followed very quickly. NBC welcomed the two as guests on their show “Home,” where the notorious Eames chair made its debut. The couple was asked about the design process, which involved Ray being asked if she “needed help” describing it. 

Many interviews to sequence followed this same format, where the couple was questioned together, but Ray was still left more so on the sidelines as “Mrs. Eames.” 

Since their deaths (Charles in 1978 and Ray in 1988), the design world appears to be increasing their infatuation with Ray, who is now recognized as being much more involved in the design process than previously thought. 

Charles was the innovator, the primary source by which monumental modernist concepts flowed. Ray, on the other hand, was the wife, portrayed as the main involvement within the aesthetic and decor aspects. 

It’s worth noting, however, that Charles did not drive or openly condone the media’s representation of Ray. His vernacular utilized in interviews was consistently occupied with words such as “we,” and “us.” The mid-century media, alongside westernized standards of womanhood and femininity, however, was the sole proprietor in keeping Ray in her secondary position. 

As mentioned in the New York Times article by Jennifer Schuesseler, many exhibitions with their work typically left her name out. Additionally, Schuesseler mentions Charles’s description of their partnership as, “an equal and total alliance,” whereas the article continues to describe Ray’s involvement as Charles’s “wife and assistant.” 

In fact, the two of them repeatedly stressed that their projects were a dual-contribution, something they always pursued as an equal give and take. 

As we commemorate the works of Ray and Charles Eames, as well as strive for gender inclusivity in the art world, it is best that we address their works as what they always wanted them to be: not only innovative modernist in its design, but mutually collaborative.