[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-thonet-200-anniversary-2019":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":69},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":64,"matched_pages":65,"match_count":66,"two_pages":67,"show_text":68},26459,"200 Anniversary 2019","thonet-200-anniversary-2019","\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F3b\u002Ffc6453e7c521e24054604597479e5d-291b9aaac4.pdf","Thonet",2500,"thonet","5.4 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61],{"image":7,"text":15,"number":16},"the 200\nanniversary\nissue \n\u002F 2019\ncafé\nContemporary since 1819.\nCONTEMPORARY SINCE 1819\n",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.2.png","café THONET \nOO\n2\n \nthe 200\nanniversary\nissue \n\u002F 2019\n03\n200 Jahre Thonet, 200 Jahre Ikonen des Designs: Das welt- \nberühmte Unternehmen hat in seiner einzigartig langen \nGeschichte immer wieder Klassiker hervorgebracht. Entstanden \nstets am Puls ihrer jeweiligen Zeit sind Thonet-Möbel wert-\nbeständige, kulturträchtige Begleiter für Menschen auf der \nganzen Welt. Die Geschichte des Unternehmens aus Franken-\nberg ist reich an Meilensteinen und bahnbrechenden  \nInnovationen in Material, Form und Produktionstechnik. Im \n19. Jahrhundert gelang es Michael Thonet erstmals Massivholz \nzu biegen: Der legendäre Wiener Kaffeehausstuhl markierte \ndamals den Übergang vom Handwerk zur Serienfertigung – \nThonet schrieb Industriegeschichte. Im 20. Jahrhundert  \nexperimentierten die Bauhaus-Lehrer Marcel Breuer, Mart Stam \nund Ludwig Mies van der Rohe mit kalt gebogenem Stahlrohr, \nerfanden den Freischwinger und hatten mit Thonet einen Pro-\nduzent mit viel Pioniergeist an ihrer Seite. Bis in die Gegenwart \nentwerfen immer wieder namhafte Designer und Architekten  \nMöbel mit besonderem Klassiker-Potenzial für Thonet. Das Erbe \nvon einst ist für Thonet ein Versprechen für morgen: Die Ent- \nwicklung und Fertigung authentischer Originale mit klarer Vision, \nperfekter Form und von höchster Qualität, made in Germany. \n02\n200 years of Thonet, 200 years of design icons: The world famous  \ncompany has produced classics throughout its uniquely long \nhistory. Pieces of Thonet furniture, always created while keeping \na finger on the pulse of the relevant era, are companions \nthat exemplify enduring value and cultural history for people \nthroughout the world. The history of the Frankenberg based \ncompany is filled with milestones and pioneering innovations \nin materials, design and production technology. Michael Thonet \nfirst succeeded in bending solid wood in the 19th century: The \nlegendary Vienna Coffee House Chair marked the transition \nfrom manual craftsmanship to serial production – and Thonet \nwrote industrial history with it. In the 20th century, the Bauhaus \nteachers Marcel Breuer, Mart Stam and Ludwig Mies van der \nRohe experimented with cold-bent tubular steel, invented the  \ncantilever chair, and always had Thonet, a producer with plenty \nof pioneering spirit, by their side. To this day, renowned designers \nand architects design furniture for Thonet that have the  \npotential to become distinctive classics. The company’s past  \nheritage also represents a promising future for Thonet: the  \ndevelopment and production of authentic originals with a clear  \nvision, perfect design, and the highest quality – made in Germany.\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.3.png","thonet\nforever\nMöbel von Thonet gehören heute wie gestern zum alltäglichen Leben zahlloser Menschen auf der \nganzen Welt. Einige schätzen sie als Klassiker mit Geschichte und Patina, andere als zeitlose Design- \nikonen mit Sammlerwert, und für Menschen einer jüngeren Generation sind sie ein kulturelles \nStatement, das jedem Umfeld eine besondere Prägung verleiht. Thonet-Möbel sind überall dort zu \nfinden, wo sich Menschen treffen, wo sie sich austauschen, kurz innehalten oder mobil arbeiten – \nzu Hause, in Wartezonen und Lounges, in Büros oder im Café. Auf Thonet kommt man zusammen, \nseit die Erfolgsgeschichte dieser Möbelmarke im 19. Jahrhundert in den großen Kaffeehäusern der \nZeit ihren Anfang nahm. Möbel von Thonet sind zeitlos und wertstabil. Sie sind vielen Menschen ein \nvertrautes Kulturgut, das man wertschätzt und gerne weitergibt oder vererbt. Thonet – contemporary \nsince 1819.\nThonet furniture has been part of the everyday lives of countless people around the world – today \nas well as in the past. Some appreciate them as classics with a history and patina, others as \ntimeless design icons with a collector’s value, and for the younger generation they are a cultural \nstatement which lends a special character to any environment. Thonet furniture can be found \nwherever people gather, network, have a rest or pursue mobile work – at home, in waiting zones \nand lounges, offices or cafés. People have been meeting on Thonet ever since the success story  \nof this furniture brand began in 19th century coffee houses. Thonet furniture is timeless and  \nan enduring value. For many people, it is a familiar cultural asset that is appreciated and \nbequeathed. Thonet – contemporary since 1819.  \n04\n05\nImage: Jo Glinka as a photo assistent while shooting the chair 404.  \nPhotographer: Christoph Sagel, Berlin\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.4.png","thonet\nbauhaus\n100 Jahre Bauhaus – dies feiert Thonet mit einer limitierten Jubiläumsedition des berühmten Frei- \nschwingers S 533 F von Ludwig Mies van der Rohe. Das erfolgreiche Hamburger Designduo Besau \nMarguerre entwickelte für die Version S 533 F mit Armlehnen gleich zwei neue Ausführungen:  \nFein abgestimmte, sinnliche Farben und Materialien holen den ikonischen Stahlrohrsessel in die \nGegenwart. Die zwei neuen Varianten der Jubiläumsedition – eine mit Gestell in Perlglanzchrom \nund anthrazitfarbenem Leder und die zweite in Champagnerchrom mit Leder in Zartrosé – vereinen \ndie Sachlichkeit des Bauhauses mit einem warmen haptischen Look and Feel.\n \nThe Bauhaus turns 100 – and Thonet will also celebrate the occasion with a limited anniversary  \nedition of the famous cantilever chair S 533 F by Ludwig Mies van der Rohe. The successful Hamburg \nbased design duo Besau Marguerre developed two new versions of the S 533 F with armrests:  \nsubtly coordinated, sensual colours and materials bring the iconic tubular steel chair into our present \ntime. The two new versions of the anniversary edition – one with a frame in pearl gloss chrome  \nand anthracite leather, the other in champagne chrome with leather in soft rose – combine the  \nobjectivity of the Bauhaus with a warm, haptic look and feel.\ncafé THONET \n06\n07\nImage: S 533 F limited edition, Studio Besau Marguerre\nPhotographer: Constantin Meyer, Köln\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.5.png","thonet\ncrafts\ncafé THONET \n08\n09\nAus Anlass des 200-jährigen Firmenjubiläums haben Eva Marguerre und Marcel Besau eine besondere \nAusführung für den berühmten Thonet Kaffeehausstuhl 214 kreiert. Nur im Jahr 2019 ist diese Ikone \nin vier zeitgenössischen Two-Tone Farbstellungen verfügbar: in Schwarz, Weiß, Samtrot und Salbei. \nDie Besonderheit: Die Verbindungselemente des Stuhls sind einige Nuancen heller gebeizt als Sitz \nund Stuhlbeine. So richtet das Farbenspiel den Blick auf die geniale minimalistische Konstruktion und \nholt ihre klassische Silhouette gleichzeitig in einen zeitgenössischen Kontext. Die Natürlichkeit der \nBeizfarben erzeugt eine durchscheinende Wirkung, die aktuelle Interpretation klassischer Farben \neinen modernen Look.\nFor the company’s 200th anniversary, Eva Marguerre and Marcel Besau created a special version of  \nthe famous Thonet Coffee House Chair 214. This icon will be available exclusively in 2019 in four \ncontemporary two-tone colour versions: in black, white, velvet red and sage. Their special feature: \nthe connecting elements of the chair are stained several shades lighter than the seat ring and legs. \nThe play of colours attracts the eye to the ingenious minimalistic construction and, at the same time, \ntransports its classic silhouette into a contemporary context. The natural look of the stains creates  \na translucent effect, and the contemporary interpretation of classic colours creates a modern look. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.6.png","thonet\nfamily\n10\n11\nCompany founder Michael Thonet and his sons:\nMichael jun., Josef, Michael sen., August, Franz and Jakob Tho-\nnet\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.7.png","12\n13\nAus dem Kaffeehaus in die Welt\nEine kleine Kulturgeschichte – 200 Jahre Thonet:\nMöbel von Thonet gehören heute wie gestern zum alltäglichen Leben vieler  \nMenschen auf der ganzen Welt. Einige schätzen sie als Klassiker mit Geschichte \nund Patina, andere als zeitlose Designikonen mit Sammlerwert, und Menschen \neiner jüngeren Generation sehen in einem Thonet-Original den Stil und die Kultur, \ndie es repräsentiert. Thonet Möbel sind überall dort zu finden, wo sich Menschen \ntreffen, wo sie sich austauschen, kurz innehalten oder mobil arbeiten – zu Hause,  \nin Wartezonen und Lounges, in Büros oder im Café. Sie sind vielen Menschen mehr \nals ein Einrichtungsgegenstand, ein vertrautes, allgemeines Kulturgut, das man \nwertschätzt und vererbt.\nFrom coffee houses into the world\nA short history of culture – 200 years of Thonet: \nToday and in the past, Thonet furniture has been part of the lives of many people \nall around the world. Some appreciate them as classics with history and patina, \nothers as timeless design icons with a collector’s value, and people of a younger \ngeneration perceive the style and culture which a Thonet original represents. \nThonet furniture can be found wherever people meet, network, have a rest or \npursue mobile work – at home, in waiting areas and lounges, in offices or cafés. \nThey are more than just interior design objects for many – rather, they are familiar \ncultural assets that are truly timeless and appreciated as well as bequeathed.\n2\n OO\nContemporary since 1819.\nCONTEMPORARY SINCE 1819\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.8.png","1819 \n \nDie Anfänge: In seiner 1819 in Boppard am Rhein gründeten Tischlerei \narbeitete Michael Thonet intensiv an der Entwicklung neuer  \nHolzbiegetechniken. Auf diese Experimente wurde Fürst Metternich \naufmerksam und holte den Handwerker 1842 nach Wien, wo ihn  \nCarl Leistler an der Ausstattung des Palais Liechtenstein und des \nPalais Schwarzenberg beteiligte. \n \nThe beginnings: in his carpentry shop established in 1819 in Boppard \non the River Rhine, Michael Thonet intensively worked on the develop- \nment of new wood bending techniques. These experiments caught  \nthe attention of Prince Metternich, who called the craftsman to Vienna  \nin 1842; there, Carl Leistler involved him in the furnishing of the Palais \nLichtenstein and Palais Schwarzenberg. \n \n 1850 \n \nzeigte Michael Thonet seinen Sessel Nr. 4 auf einer Ausstellung des \nNiederösterreichischen Gewerbevereins. Die Gastronomin Anna Daum \nwar begeistert und erteilte ihm daraufhin einen Großauftrag zur Aus- \nstattung ihres Kaffeehauses am Wiener Kohlmarkt. Später kam ein Hotel \nin Budapest mit 400 Exemplaren ebenfalls des Sessels Nr. 4 dazu –  \nMeilensteine im frühen Projektgeschäft bei Thonet. \n \nMichael Thonet presented his chair no. 4 at an exhibition of the trade \nassociation of Lower Austria. The gastronomer Anna Daum was fas- \ncinated with it and gave him a large-scale order to furnish her coffee \nhouse at Vienna’s Kohlmarkt. Later on, an order from a hotel in Buda-\npest for 400 copies of chair no. 4 was added. These are milestones in \nthe early project business at Thonet. \n \n 1859 \n \nBeginn der Produktion des Stuhls Nr. 14 (heute: 214). Den Durchbruch \nschaffte Michael Thonet 1859 mit dem Stuhl Nr. 14, dem sogenannten \nWiener Kaffeehausstuhl: Durch die neuartige Technologie des Biegens \nvon massivem Buchenholz konnte erstmals ein Stuhl industriell her- \ngestellt werden. Das Revolutionäre am einstigen Nr. 14 und heutigen \n214 bestand darin, dass er vollständig in seine wenigen Einzelbestand- \nteile zerlegbar war und somit in arbeitsteiligen Prozessen hergestellt \nwerden konnte. So konnte der Stuhl Platz sparend und einfach verpackt \nin alle Welt transportiert werden: In eine Kiste von einem Kubikmeter \npassten 36 zerlegte Stühle. All dies verhalf dem modernen Stuhl zu  \neinem attraktiven Preis, und so wurde der Nr. 14 ein begehrtes Massen- \nprodukt. \n \nBeginning of the production of chair no. 14 (today: 214). Michael \nThonet had his breakthrough in 1859 with chair no. 14, the so-called \nVienna coffee house chair: for the first time, the innovative bending \ntechnique allowed for the industrial production of a chair. What  \nwas revolutionary about the former no. 14, today’s no. 214, was the \nfact that it could be disassembled into a few components and thus \nproduced in work-sharing processes. The chair could be exported  \nto all nations of the world in simple, space saving packages: 36 dis- \nassembled chairs could fit into a one cubic metre box. All of the above \nallowed the modern chair to be competitively priced, and the no. 14 \nquickly became a popular and coveted mass produced item. \n \n 1925 \n \nAuf der Pariser „Exposition des Art Décoratifs“ richtet Le Corbusier  \nseinen „Pavillon de l’Esprit Nouveau“ mit Bugholzstühlen von Thonet \nein. Im selben Jahr entwirft Marcel Breuer das elegante Satztisch- \nProgramm B 9, Thonets erstes Stahlrohrprodukt. Mart Stam entwickelt \nmit dem S 33 den ersten Freischwinger der Möbelgeschichte (1926). \nLudwig Mies van der Rohe gestaltet den eleganten Freischwinger S 533, \nder sich durch eine Rundung im Gestell auszeichnet. Der Sessel wurde \nerstmals 1927 in der Stuttgarter Weißenhof-Siedlung präsentiert.\n \n14\n15\nAt the Paris “Exposition des Art Décoratifs,” Le Corbusier furnishes his  \n“Pavillon de l’Esprit Nouveau” with Thonet bentwood furniture. In the \nsame year, Marcel Breuer designs the elegant set table range B 9, \nThonet’s first tubular steel product. With S 33, Mart Stam develops the \nfirst cantilever chair in furniture history. Ludwig Mies van der Rohe \ndesigns the elegant cantilever chair S 533, which is characterised by \nits rounded frame. The chair was first presented in 1927 at the Stuttgart \nWeissenhof Estate. \n \n 1929\u002F1930 \n \nMarcel Breuer entwirft in diesem sowie im Folgejahr die Stahlrohr- \nklassiker S 32 und S 64. Erwerb der Rechte an weiteren Entwürfen von \nMarcel Breuer; Beginn der Stahlrohrmöbel-Produktion. Durch seine \nentscheidende Rolle in der Entwicklung und Produktion von Stahlrohr- \nmöbel in der Bauhauszeit, konnte Thonet seit den 1930er Jahren ein  \nweiteres Standbein im Möbelmarkt gewinnen: Bis heute sind die damals \nneuen sachlichen Möbel von Mart Stam, Marcel Breuer und Ludwig \nMies van der Rohe ein Bestseller. So lieferte Thonet 1932 die Bestuhlung \nfür den naturwissenschaftlichen Lesesaal in der Nationalbibliothek  \nin Leipzig. \n \nIn this and the following year, Marcel Breuer designs the tubular \nsteel classics S 32 and S 64. Acquisition of rights to more designs by \nMarcel Breuer; beginning of tubular steel furniture production. From \nthe early 20th century to the present: due to its decisive role in the \ndevelopment and production of tubular steel furniture in the Bauhaus \nera, Thonet has been able to win one more mainstay in the contract \nfurniture market since the 1930s. To this day, the innovative objective \nfurniture of the time by Mart Stam, Marcel Breuer and Ludwig Mies van \nder Rohe are bestsellers. In 1932, Thonet supplied the seating for the \nnatural science reading room at the Leipzig National Library. \n \n 1950 \n \nHerauszuheben aus den Entwürfen der Nachkriegszeit, die erfolgreich \nwurden, sind zunächst der von Eddie Harlis entworfene Sessel 652 \nsowie das Stuhlprogramm S 800 von Hanno von Gustedt für Konferenz- \nräume. \n \nThe post-war designs that became a success in the business and \nhave to be mentioned are the chair 652 by Eddie Harlis and the  \nchair programme S 800 by Hanno von Gustedt for conference rooms. \n \n 1969 \n \nThonet feiert das Jubiläum der ersten Firmengründung von Michael \nThonet in Boppard vor 150 Jahren. Autor der Jubiläumsbroschüre \n„Das Haus Thonet“ ist der Wiener Professor Karl Mang. Den Jubiläums- \nstand „150 Jahre Thonet“ auf der Kölner Möbelmesse gestaltet  \nVerner Panton. \n \nThonet celebrates the anniversary of Michael Thonet’s initial foundation \nof the company in Boppard 150 years ago. The author of the anniver-\nsary brochure “Das Haus Thonet” is Professor Karl Mang from Vienna. \nVerner Panton designs the “150 Years of Thonet” booth at the Cologne \nfurniture trade fair.  \n \n 1976 \n \nAls sich in den 1970er Jahren Kunststoff auch in der Möbelbranche \nausbreitete, landete Thonet einen Clou mit dem Stuhl „Flex“ von  \nGerd Lange: Dieser war von Anfang an nicht als Einzelstuhl sondern \nals flexibles System geplant, welches sich durch Reihenverbindungen, \nStapelfähigkeit und Variantenvielfalt auszeichnete. \n \nWhen the use of plastic moved into the furniture industry in the 1970s, \nThonet landed a hit with its chair programme “Flex” by Gerd Lange: \nfrom the onset it was not planned as an individual chair but as a  \nflexible system that was characterised by row linking, stackability  \nand a range of versions.\n1984 \n \nIn den 1980er und 1990er Jahren eroberten der komfortable und  \nelegante Polsterstuhl S 320 sowie das hinterbeinlose Konferenz-Stuhl- \nprogramm S 73\u002FS 74 die Versammlungs- und Besprechungszimmer. Als \nder von Norman Foster 1990 neu gestaltete Deutsche Bundestag im \nalten Reichstagsgebäude in Berlin eröffnet wurde, kamen mehrere \nThonet-Modelle zum Einsatz, u.a. auch der S 43 von Mart Stam für die \nFraktionsräume. \n \nIn the 1980s and 1990s the comfortable and elegant upholstered chair \nS 320 and the cantilever conference chair programme S 73\u002FS 74 con- \nquered the assembly and meeting rooms. When the German Bundestag \nredesigned by Norman Foster was inaugurated in 1990 in the former \nReichstag building in Berlin, several Thonet models were used, among \nthem the S 43 by Mart Stam for the parliamentary group rooms. \n \n 1989 \n \nEröffnung des Museum Thonet in Frankenberg anlässlich des 100-jäh-\nrigen Bestehens der Thonet-Produktion in Frankenberg. Danach folgt \neine Wanderausstellung „Das Prinzip Thonet“ (u.a. im Germanischen \nNationalmuseum, Nürnberg, in Prag, Brünn, Pressburg, St. Petersburg, \nKiew, Odessa, Moskau, Breslau, Warschau und Posen). \n \nThe Museum Thonet in Frankenberg opens its doors at the occasion  \nof the 100th anniversary of the Thonet production in Frankenberg.  \nA Touring exhibition “The Thonet Principle” follows (e.g., in the  \nGermanisches Nationalmuseum Nuremberg, in Prague, Brno,  \nSt. Petersburg, Kiev, Odessa, Moscow, Breslau, Warsaw and Poznan). \n \n 2009 \n \nThonet kooperiert mit dem japanischen Handelshaus Muji und bringt \neine spezielle, vereinfachte Version des 214 auf den Markt. Das \n150-jährige Jubiläum des Stuhls 214 wird u.a. mit dem Fotowettbewerb \n„214x214“ gefeiert. \n \nThonet cooperates with the Japanese trading house Muji and brings a \nspecial simplified version of chair 214 to market. The 150th anniversary \nof chair 214 is also celebrated with the photo contest “214x214”. \n \n 2019 \n \nAuf der Kölner Möbelmesse imm cologne feiert Thonet seinen 200- \njährigen Geburtstag mit einem Messestand unter dem Motto „Café \nThonet“: Der vom Studio Besau Marguerre entworfene Stand verbindet \nBugholz und Stahlrohr, Geschichte und Gegenwart und macht die DNA  \nder Marke Thonet erlebbar. Im Mai zeigt die Pinakothek der Moderne \nin München die Ausstellung „Thonet & Design“. 200 Jahre Möbeldesign \nwerden anhand der Geschichte des Familienunternehmens Thonet \nreflektiert. Den Pionierleistungen der Frühzeit – neue Technologien, neue \nGestaltungsmöglichkeiten, neue Vertriebs- und Marketingwege – stehen  \ndie Entwicklungen des 20. und frühen 21. Jahrhunderts gegenüber.\nAt imm cologne, Thonet celebrates its 200th anniversary with a trade \nfair booth under the motto “Café Thonet”: The booth designed by \nStudio Besau Marguerre combines bentwood and tubular steel, history \nand the present, and turns the DNA of the Thonet brand into a unique \nexperience. In May, the Pinakothek der Moderne in Munich will \npresent the exhibition “Thonet & Design”. 200 years of furniture design \nare reflected based on the history of the family managed company. \nThe early pioneering achievements – new technologies, new design \npossibilities, new distribution and marketing channels – are shown \ntogether with the developments of the 20th and early 21st centuries.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.9.png","thonet\ntoday\n16\n17\ncafé- THONET \n„Ich sehe Thonet als ein Unternehmen, das höchste Handwerkskunst mit Innovation und Design in \nEinklang bringt. Mit Thonet verbinde ich viele schöne Kindheitserinnerungen, denn gefühlt gab  \nes die Stühle überall. Ich saß früher oft am Schreibtisch meiner Mutter auf ihrem Thonet-Bugholz- \nDrehstuhl. Darauf konnte man super drehen und zum Festhalten alle Finger in benachbarten oder \nentfernten Löchern des Geflechts verschwinden lassen. Ein doppeltes Vergnügen! Der Stuhl 209 ist \nfür mich einer der Stühle mit der schönsten Linienführung, die ich kenne – eine unglaublich span-\nnende und doch harmonische, elegante Form. Das sind alles Aspekte, die ich auch in meiner Arbeit \nals Modedesignerin anstrebe.“\n“I perceive Thonet as a company that harmoniously combines the highest level of craftsmanship \nwith innovation and design. I have many pleasant childhood memories that relate to Thonet  \nbecause the chairs were everywhere. I often used to sit at mother’s desk on her Thonet bentwood \nswivel chair. It was perfect for spinning around and holding on to while watching all of your  \nfingers disappear into nearby or further away openings of the wicker cane. A double pleasure! \nChair 209 is one of the chairs with the most beautiful lines in my opinion – an incredibly suspenseful \nand yet harmonious, elegant form, all of which are aspects that I’m also striving to fulfil in my work \nas a fashion designer.” \nJohanna Perret, fashion designer, Berlin \nwww.johannaperret.com\nImage: Johanna Perret with her favorite chair No. 209\nPhotopgrapher: Christoph Sagel, Berlin\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.10.png","#thonet\n18\n19\ncafé THONET \n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.11.png","20\n21\nDrei von vielen Kreativen, die heute für Thonet \ngestalten und sich dabei mit dem Erbe  \nauseinandersetzen: Sebastian Herkner sowie  \nEva Marguerre und Marcel Besau (Studio  \nBesau Marguerre) mit Thonet im Gespräch.\nThree of the many creatives who design for  \nThonet today and deal with the heritage:  \nSebastian Herkner, Eva Marguerre and  \nMarcel Besau (Studio Besau Marguerre)  \nin an interview with Thonet. \nthonet\nvoices\nDrei von  \nvielen  \nKreativen,  \ndie \nheute  \nfür \nThonet  \ngestalten.\ncafé THONET \nImage: Portrait of Sebastian Herkner\nPhotographer: Gaby Gerster\nImage: Eva Marguerre and Marcel Besau photographed on S 533 F \nPhotographer: Constantin Meyer, Cologne\nthonet\nvoices\nThree of  \nthe many  \ncreatives  \nwho have  \nworked  \nfor Thonet \nsince  \n1819 \n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.12.png","Image: Chair 118 \nPhotographer: Christoph Sagel, Berlin\n22\n23\nWas fasziniert Euch an der Marke Thonet, was ist \nspannend daran, mit Thonet zusammenzuarbeiten?\nEva Marguerre: „Uns faszinieren bei Thonet die \nRundungen, die man bei den Thonet Klassikern \naus Bugholz und denen aus Stahlrohr findet. Sie \nrepräsentieren das Revolutionäre, das Innovative \nbeider Epochen, die ja von Thonet entscheidend \ngeprägt wurden.“\nSebastian Herkner: „Thonet ist eines der prägend- \nsten Designunternehmen überhaupt und das  \nbereits seit 200 Jahren. Das Unternehmen hat sich  \ndurch Innovation und Vision sowie durch span-\nnende Kooperationen immer wieder neu erfunden. \nFür mich als Designer ist dies die perfekte Basis \nfür eine Zusammenarbeit. Es gibt einen intensiven \ngemeinsamen Dialog, der getrieben ist von Wissen, \nBegeisterung und Ideen.“\nWas sind für Euch die entscheidenden Aspekte,  \ndie bei Eurer Sicht auf Thonet eine Rolle spielen?\nSebastian Herkner: „Die Arbeit mit dem Material \nsowie der Antrieb, die Marke weiterzuentwickeln. \nBei unserer Zusammenarbeit ist es vor allem das \nZusammenspiel von Tradition und Know-how auf \nSeiten des Unternehmens sowie mein Interesse \nfür Qualität, Detail und Farbe.“\nMarcel Besau: „Thonet strahlt für uns schon auf-\ngrund der Materialien Holz und Stahlrohr, die  \nsie ja entscheidend ausmachen, eine gewisse \nKühle aus. Wir finden, dass der Marke etwas \nWärme gut zu Gesicht steht. Das versuchen wir \nmit unseren Ansätzen zu erzielen, zum Beispiel, \nwenn wir den Stuhl 214 mit einem neuen, zeit-\ngenössischen Farbkonzept interpretieren oder im \nFall des Messestanddesigns Textilien einsetzen.“\nWenn Ihr eine Marke wie Thonet heute, in der Gegen- \nwart denkt: Wie würdet Ihr Euren Ansatz beschreiben?\nSebastian Herkner: „Gutes Handwerk steht für eine  \ndeutsche Tradition im Design genauso wie Techno- \nlogie und Innovation. All dies muss man im Kontext  \nder aktuellen Zeit verantwortungsvoll weiterent- \nwickeln, und das habe ich bei meinem Programm  \n118 versucht.“\nEva Marguerre: „Uns geht es um die Frage: Wie \nkann man die Ikonen in einen in zeitgenössischen \nKontext bekommen? Es ist eine Herausforderung, \nmit der Geschichte respekt- und verantwortungs- \nvoll umzugehen und sie dabei nach vorn zu  \ndenken. Man ist nicht ganz frei, aber wir mögen \nes, einen Rahmen und gewisse Beschränkungen \nzu haben, weil daraus immer etwas Neues, etwas \nÜberraschendes entsteht. Wir finden – und so \nhaben wir bei unseren Projekten für Thonet auch \ngearbeitet – dass bereits kleinere Verschiebungen  \nin Material, Farbe oder Details dazu führen, dass \nder Dialog mit zeitgenössischen Entwürfen gelingt.“\nWhat fascinates you about the Thonet brand,  \nand what’s exciting about working with Thonet? \nEva Marguerre: “We’re fascinated with the round \nshapes that you can find in the Thonet bentwood \nand tubular steel classics. They represent the  \nrevolutionary innovativeness of both epochs, \nwhich were decisively influenced by Thonet.” \nSebastian Herkner: “Thonet is one of the most \ninfluential design companies ever, and it has \nbeen for 200 years. The company has repeatedly \nreinvented itself through innovation and vision, \nas well as through exciting collaborations. For me \nas a designer, this is the perfect foundation  \nfor cooperation. We have an intensive dialogue \ndriven by knowledge, enthusiasm, and ideas.”\nWhat are the decisive aspects that play a role in \nyour view of Thonet? \nSebastian Herkner: “Working with the material \nand the motivation to push the development  \nof the brand. In the case of our collaboration, \nit is particularly the interaction of tradition and \nknow-how on behalf of the company along with \nmy own interest in quality, detail, and colour.”\nMarcel Besau: “For us, Thonet radiates a certain \ntype of coolness due to the materials wood and \ntubular steel, which are decisive for the brand. \nWe believe that a little warmth fits it well. And we \ntry to achieve that with our approaches, for  \nexample by interpreting chair 214 with a new, \ncontemporary colour concept or the use of  \ntextiles in the case of trade fair booth design.” \nIf you were to conceive a brand like Thonet today, \nhow would you describe your approach? \nSebastian Herkner: “Good craftsmanship rep-\nresents a German tradition in design, just like \ntechnology and innovation. All of this has to be \nresponsibly advanced in the context of our time, \nand I tried to do just that with my range 118.” \nEva Marguerre: “For us, the question is this: how \ncan the icons be placed in a contemporary  \ncontext? It is a challenge to deal with the history \nin a respectful and responsible way and to think \nit forward into the future. You’re not completely \nfree, but we like having a framework and certain \nlimitations because something new and surprising \nalways results from that. We believe – and this is \nhow we worked on our projects for Thonet – that \neven a small shift in materials, colours or details \nlead to a successful dialogue with contemporary \ndesigns.” \ncafé- THONET \nImage: Detail Orgatec trade fair booth \nPhotographer: Patricia Parinejad, Berlin\nImage: Chairs 214 two-tone \nPhotographer: Constantin Meyer, Cologne\nImage: Detail of the leather embossing on the anniversary edition S 533 F \nPhotographer: Constantin Meyer, Cologne\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F24\u002F4c03a2079cd47594d78c1ac46196a9-291b9b94ff.13.png","Event information \n20 Jan 2019 Opening festival \nTXTorrent with Richard Siegal, \nSandra Hülle, Alva Noto at \nthe Akademie der Künste \nBerlin\n17 May 2019 – 02 Feb 2020 \nThonet & Design Pinakothek \nder Moderne, Munich  \n \nmaterials\nThe materials shown are \nonly a selection of colours \nfrom the collection. The \nprinted colours approximate \nthe colours of the materials. \nSlight colour differences from \nthe original are possible.  \nWe reserve the right to make \nmodifications or changes.\ncredits\nConcept and layout:  \nThomas Biswanger  \n \nText: Claudia Neumann \nCommunication GmbH  \nand Thonet GmbH \n \nPhotography: \nArchiv Bauhaus Dessau,  \nArchiv Thonet, Gaby Gerster, \nConstantin Meyer,  \nChristoph Sagel\nThis publication is part of \nthe public relations work \nof Thonet GmbH. 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