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Lieven Lahaye


My grandfather cut the back off a normal chair and used it as a stool. Later, he gave it to my father to work in the garden. It wasn’t that comfortable.

I asked my father about this over Christmas dinner but he reacted (slightly) piqued: “He didn’t saw off the back, I did!”. My father’s father wore glasses, thick as jam jars. He was a school teacher and taught blind kids how to weave. Every few years, he re-did the wicker seats of our kitchen chairs. He must’ve known what a stool is.

Imagine a stool, an item so basic. Suzanne Ellison, editor of “The furniture of necessity”, the upcoming book of noted woodworking author Christopher Schwartz on furniture that was “made by unknown amateurs who made what they could with materials at hand and sometimes struck gold”: “First, we need some sort of box or chest to store valuables” “Eventually, something to sit on and get off the dirt floor.”

The stool is born from need and it is the simplest way of “sit”. But change it, they did, the minute they could.

Some stools are difficult to construct; others are too complicated. My aunt had ergonomic kneeling stools or —how the adults commonly referred to them, “those things”— rallied around the dinner table and us kids, we loved them. Where aunts gave in, tried and gave up, uncle grandpa refused. He had stuck a square peg through a round hole and wasn’t about to sit up straight and listen. “Dad, is that really necessary?”

“A good stool is hard to find.”

When my friend Juan first visited his girlfriend’s home town, he pulled up a stool to take a closer look at what she was showing him on the computer screen. A few months later, she returned there after they had a minor fight. Upon arrival, she wrote him “My broken bedside table reminded me of you.”


Of course great furniture should be self-evident. The sturdy table. The cupboard that holds your stuff. The chair that provides for a comfortable sit.

By that standard of self-evidence, Bastien Gachet made a good one when he build a chair with a slightly reclined back, precisely angled seat for smooth slide-in and meticulously crafted, slightly protruding joiner y at that spot where your wrist rests on the arm rest.

A few years ago, he built a small stool out of 3 boards and I love having it around. I don’t think I ever sat on it but it’s great for standing on. Recently he told me he was measuring all sort of furni-ture and ridges, etc to find a nice height to sit on. Turns out it’s the height of a stair tread.


A few years ago, I overheard someone saying that [Gerrit] “Rietveld is still very much alive” because he designed the Zig Zag chair so the cat could walk underneath the chair, which was proof positive of [his spirit] still being very much alive, I didn’t understand it then but recently I got a cat and noticed that she does often walk in between the legs of my chair, Donald Judd designed a chair that was clearly Rietveld inspired, sort of a boxed-in zig zag, The box is the base of the chair, I think it’s safe to assume that he didn’t have a cat. Or much legroom.


According to John Gloag, the noted science fiction writer and furniture historian, there are two forms of furniture. Everything is either box or platform.

Now, two—and only two—options, choices, words are always tricky; there are multiple ways to do everything. I figured coat hooks are neither box nor platform. Box, platform, coat hook.

Then Bastien mentioned lamps. Box. Platform. Coat Hook. Lamp. I like lamps and Richard Neutra designed a great one, to be used in every apartment of the San Pedro, Los angeles, California Channel Heights Housing Project. Few details of the building exist.

It was built for workers of the harbor’s shipyard during World War 2.

It had a communal wood workshop for residents to build their own furniture. Neutra partly furnished the apartment with his Boomerang Chair, which became a design icon. And the lamp, which did not. The only known surviving example, a charming, scruffy looking prototype, surfaced in 2012 at auction. I built a replica of it and showed it to Pieter. He laughed and said he built one like that in high school shop class.

Lieven Lahaye

Andre Chapatte

Andre Chapatte

Andre Chapatte

Denisa Kollarova


There is an entrance room of my apartment where I appear to be every now and then thinking about entrance of spaces. This room has 8 doors. Quite surreal scenario is an everyday reality.

One door I enter the apartment.

One door I enter the kichen.

One door I enter the bathroom.

One door I enter the toilet.

One door my 1st roommate lives in.

One door my 2nd roommate lives in.

One door my 3rd roommate lives in.

One door gas and wifi lives in.

2 doors are always open and 5 doors are most of the time closed.
When examining the potential of this room my imagination expands.
What do you do with a room which has 8 doors?

You open them all and create 5 spaces. Using the doors as a division of spaces creates a possibility to exhibit 5 artists in five almost-rooms. But this I would consider as an exhibition routine.

What would happen if you had a situation where actually each artist would not get a space but entrance into a space?

When placing the table with chairs in the middle of the room surrounded by 8 doors I achieve a comic scenario where everybody becomes a part of the activity which someone else is willing to take. People stand up when one of the doors gets open, move the table, shift the position of places and constantly stand up and rotate. One needs to go to the toilet. One just arrived. One forgot the wine in the kitchen. One wants to see my roommate’s roommate. One roommate forgot something in his room. One door should be open for the natural light to enter the room.

The meeting in this room, is a physical exercise on patience and constant transformation - performance of the space itself.

If hanging the posters on these doors - you can discover every other poster only when entering the space to which the door is entrance to. In this way you are exposed not only with what is hanging on the door but also with what the room behind the door exhibits. Each room has a character but what I am mostly interested in, are these transitions of spaces - ‘doors’ from one space to another.

Doors are the most invisible but the most instant furniture. Probably given least consideration of their existence but used the most. The act of opening the door becomes the most obvious, normal and random activity repeated several times a day without thinking. Touch is required.

Doors characteristics are inclusive and exclusive. Doors can also be missed. Even if there is no doors you are still left with a doorframe, arch or any other transition from one space to another.

When closing all the doors you are in the hallway with 8 doors and 8 displays. When closing all the doors you are in the hallway with 8 doors and various sounds echoes mixing. It becomes difficult to recognise the sources of sounds but unimportant too. This exercise of letting sound in or out can be practised synchronised, where more than one person is needed to open and close the doors. When applying a special string mechanism - one can be pulling in and pushing out the doors and no help of other person is needed. Slamming the doors is the extra sound which can be created synchronised or spontaneously, when opening the windows of the opposite rooms and leaving the draft to do its job.

It becomes so that some doors are more public than others, some are always open and some work only with the key.

It is rare to find room of 5 square meters with 8 doors.
Where there is an entrance into exhibition there is an exhibition itself.

To enter my living space I still continue to enter the door nr.9 to balcony and the door nr.10 to my room from the balcony.

Denisa Kollarova

Jonathan Aldenberg

As he finished his plate, the doorbell rang. The fuck? It is Friday night. I stand up from my pouf, place the plate on the floor, and walk towards the video-intercom to see who’s at the door. As the video intercom switches on, I see the tip of a burning cigarette. The cigarette swings to the right and Theo’s fisheye fat nose enters the frame, behind him, over his shoulder Derek tries to see what is going on.

God damn it, they want to hang out. Theo and Derek were known in the city as a duo. Individually both of them were not that special, but together they had the dynamics of a tornado. They studied anthropology and one of their favourite spare time activities was taking a straw through the new neighbourhoods, in the outer rim of the city while they were smacked up. Everything about those two was schizophrenic, sometimes their appearance was extremely shabby, -they had even been beaten up in a nearby town, because the people on bar street thought they were bumps- and sometimes they looked sharp and on point in orchestrated outfits. The west where I live had become a ghetto over the last 30 years. My parents were born here 60 years ago. They had left the capital during the crisis in the eighties. I’m only wearing sweat pants.

It is 7 o’clock mid-October and an autumn sun is bleaching the the room, already yellowed by cigarette smoke, or maybe last night’s beer. I’ve always been employed in my adult life, in a photography gallery, and when that went bust due to its failure to generate any kind of income. In a club: Danny’s garden. Not as a bartender, not at the office, but as a bouncer. Until I was done with shifting the various figurers that tried to impress me, a guy who in a lot of aspects had his stuff less tightly together than they did.

— THO: Cirus what’s good, yo, -you got it, -you always got it, Squad ready to shred, Come on man what do you have for us in the fridge, beer, or shall we make some good old skinny bitches. Or meet some skinny bitches it’s all the same for me man. I mean, I imagine the three of us on a pilgrimage of pleasure man. Or maybe we should be slayin in. Organise a party here. Invite some people. Where’s your roommate? He’s such an nice guy.

Derek walks over to the window and starts shouting to the people on the sidewalk.
— Hey what up y’all
— fuckbois koolbois everything s’aight?

I’m starting to get annoyed, I start to get the feeling they won’t leave. This is going to be a long night, it just started and I already lost control.I should never have spoken to them, That one time they were queuing for the club I was working at, then maybe, we wouldn’t have become friends. Reclusiveness such a luxury . What did they take this time? 2CB? Molly? Maybe good-old amphetamine? They are so hyped up, it must be speed. -I want a girlfriend to snuggle with again- I still didn’t put a shirt on, but I did take a shower this morning. I smell my armpit. No I’m not it. They are. How long are they awake already?

Theo walked into the kitchen. He is calling with somebody. I join him.

— Theo: Yes, yes we’re at Cirus his place.
— No it will be fine.
— No worries.
— Yes. Okay.
— Bring her to.
— Ok see you soon.

Derek gives me a drink. Out of pocket
The doorbell rings again. So many hands so many cigarettes.

— Cirus : Hey Theo, George was only hanging with Anna right? Yeah. Why? Well I don’t know who those people downstairs are but they are with the lot of them.
— Theo: Oh, oh, really? Well whatever.

Theo walks towards me, and presses the unlock button. As we lock eyes Theo grins if I had any doubts, well…
I hear the footsteps coming up through the staircase and the hallway. I open the door, George enters first.

— Hey what’s up, yeah we ran in to these people on our way over here. And I thought they might join in as well, no?
— Yeah, yeah, sure, come in. come in quickly.
— Hey did anybody bring drinks?

20 minutes later I realise that partying is something you do alone within the framework of a group. or should I say partying is like mountain climbing and queuing up, you might move as it were as a group, but the experience is autonomous and lonely.

Theo is dancing on the table.

Sarah hits Daniel in the face, they hug.

Robert is checking his email while he is DJ’ing on ITunes.

Cigarettes are stubbed out in ashtrays, then in empty glasses, and later in half empty beers.

Robert makes out with Richard
The liquor is gone
I don’t know who, I don’t know where, but somebody finds I don’t know how many cans of beer.

I’m dizzy

I don’t want this anymore.

Come on A bit, a bit more, take it.

No really, do it.

It feels like half past one, it is half past six

I’ll kill all of you.

Theo is shouting out of the window again.

Fuck off with those fake hugs.

Beat it.
The hallway is a festival terrain
Stacks of jackets pile up in the mud.
Everybody is digging for their own jacket.

We end up with the tree of us.

We dance one more time.

No not again, not anymore, I’ve had it.

Ok one last time then, its finished it’s done.

It’s over. I’m sick of it.

Oh yeah, i feel it once again. The feeling is back. The Joy has returned.
An hour later we are all sitting on the floor. Shall we get some breakfast at the gas station?

Jonathan Aldenberg

Bart de Baets

Bart de Baets

Bart de Baets

Max Bill inspired composition suggesting a 3 dimensional construction, based on an advertisement designed by Bill I saw in an exhibition on the his work at the Fundación Juan March, Madrid.

Robin Scholz

How to Behave at a Gallery in your Living Room*

Adduce, Advertise, Annotate, Announce, Articulate, Clarify, Compose, Construe, Create, Declare, Deliver, Disclose, Discourse, Discover, Dismantle, Display, Elaborate, Elucidate, Establish, Expand, Explain, Expose, Extend, Flash, Flaunt, Intonate, Manifest, Materialize, Organize, Parade, Perform, Present, Proclaim, Pronounce, Recount, Rehearse, Relate, Release, Report, Reveal, Showcase, State, Unclothe, Uncover, Unearth, Unfold, Unroll, Unveil, Unwrap, Verbalize, Vocalize

*Artists Version

Robin Scholz

Annahita Asgari

Annahita Asgari

Annahita Asgari

Loukie van Hasselt

We moved house a lot in my childhood. My parents have a lot of stuff, which would be dragged from place to place. Every time the house changed every room would be decorated the same. The living room would have the same couch that looked on to the same painting, which would be lit up by the same light. My mother hated moving. This was a way to make herself feel at home wherever we were. It gave comfort and instant recognition. Carpets are made for moving. Just role them up and they are ready to go. My mother would lay them down instantly when we would get to our new house. They would define the spaces and allocate a function. Around the rug the other objects would be placed. The rug defined a space within a space around which we would live. A blue and beige striped, roughly woven carpet would be the living room. It contained stains from every faze of my childhood. My dog had bitten a hole in it that my mum always hid under the chair. In the last house we lived we suddenly had carpeted flooring in the living room. The blue and beige striped, roughly woven carpet was given to my sister. The new house never really became home.

Loukie van Hasselt

Ruben Baart


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Xavi Fernandez Fuentes

Xavi Fernandez Fuentes

Xavi Fernandez Fuentes

Brent Dahl

The first time I took the iniative to explore more closely the features of the opposite sex was behind the couch in the living room of my parents home. Inviting a friend over we hid ourselves while giggling and coaxing each other to show off more of ourselves. This was incredibly exciting and fun but for some reason I can’t remember the intimate details of my friend while I can clearly see again the couch, off-white, woven cotton texture, and even it’s perfect height to conceal us from uninvited eyes. But maybe this is just because we were caught out, the dangers of mixing our private pursuits in the communal living space, before she could be burnt into my memory.

Brent Dahl

Kristoffer Li


In the context of this text the word Quasi is used for its meaning as “in some way or sense but not in a true, direct, or complete way” or “resembling but not actually being”.

While every entry derives from places which I have become personally acquainted with in the recent time, this list is compiled partially of texts acquired from the public domain which are presented unaltered, and partially of texts composed for the occasion of this essay.

• The public restroom on Manhattan on Sara D Roosevelt Park and Stanton St. that once was so over-used that when you opened the door, a deluge of piss would literally flow out onto the pavement and require an agile evasion manoeuvre in order not to get your shoes soaked.

• The Panopticon, a type of institutional building which I became familiar with through a text by architect Billy Nolan published in a beautiful magazine I coincidentally came across in a bookstore on Avenue A in the East village. The Panopticon was designed by the English philosopher and social theorist Jeremy Bentham in the late 18th century and the concept of the design is to allow all (pan-) inmates of an institution to be observed (-opticon) by a single watchman without the inmates being able to tell whether or not they are being watched. Although it is physically impossible for the single watchman to observe all cells at once, the fact that the inmates cannot know when they are being watched means that all inmates must act as though they are watched at all times, effectively controlling their own behaviour constantly. The name is also a reference to Panoptes from Greek mythology; a giant with a hundred eyes and thus was known to be a very effective watchman.
The design consists of a circular structure with an “inspection house” at its centre, from which the manager or staff of the institution are able to watch the inmates, who are stationed around the perimeter. Bentham conceived the basic plan as being equally applicable to hospitals, schools, sanatoriums, daycares, and asylums, but he devoted most of his efforts to developing a design for a Panopticon prison, and it is his prison which is most widely meant by the term. Bentham himself described the Panopticon as “a new mode of obtaining power of mind over mind, in a quantity hitherto without example.” Elsewhere, in a letter, he described the Panopticon prison as “a mill for grinding rogues honest”.

• The prison cell of Al Capone at Philadelphia’s Eastern State Penitentiary, which my sister informed me about upon her recent visit there. Capone was a master at manipulating his environment and despite strict convictions from the courts, he was always able to persuade his keepers into procuring his every whim, and often dictated his own privileges. It was said that he had convinced many guards to work for him, and his cell boasted expensive furnishings which included personal bedding along with many other amenities not extended to other inmates serving lesser crimes. His cell was carpeted, and also had a radio around which many of the guards would sit with Al conversing and listening to their favourite radio serials. His friends and family maintained residence in a nearby hotel, and each day he was flooded with visitors.

• The home of late artist Louise Bourgeois at 347 West 20th Street on Manhattan, which has recently been opened to the public by the Easton Foundation. More than five years after her death, the house still feels inhabited by the woman who called it home. Dresses and coats hang in the closet. Magazines and diaries fill the bookshelves, which display the breadth of Bourgeois interests, including the “Joy of Cooking,” the Bhagavad Gita and J.D. Salinger’s “Nine Stories.” A sense that at any moment Bourgeois might walk through the door is heightened by the atmosphere of bohemian dilapidation: Surely this place is in no shape to be seen by anyone other than its owner. Crude patchwork testifies to the cave-in of a plaster ceiling. A two-burner gas hot plate that fills in for a stove and an ancient television that stands next to a small metal folding chair further the impression of a home not ready to receive company. “I’m using the house,” she told a visitor, when she was in her mid-70s. “The house is not using me.” The house is now is being maintained as closely as possible to the way it looked during its owner’s lifetime.

• Books, which I’ve been thinking about a lot recently, and whose creation and design always requests the consideration of the relationship between the public content and the private reader. How can something be published, e.i. made publicly or generally known, while remaining relevant and inviting to the individual? How can it facilitate itself so as to be at once personal and general? Imagine a person holding a book, one hand on each of its covers, opening it towards the face, pointing the spine outwards, like a shield towards the outside. Between the person and the book now exists, quite literally, a private space. A mobile private space, which might be setup anywhere and at any time. And which simultane- ously provides, through the pages of the book, acces to the public realm.

• Religious institutions, like mosques, synagoges or churches, whose purpose are often to create an intimate and personal link between the devotee and whichever supreme being they worship. Especially I think of the Portuguese Synagoge in Amsterdam, where I in 2014 attended The 9th Benno Premsela lecture by Matthew Stadler titled Interior Decorating In War Time, which made an indelible impression and which has undoubtably influenced my thoughts as expressed in the previous paragraph in this list, in which the object of the book might be replaced by that of a screen like an iPad or a laptop. To my fortunate surprise I realized—long after having purchased it—that the talk by Stadler was published in part in the before mentioned beautiful magazine from the bookstore on Avenue A.

• The kitchen in my apartment which I spend most of the recent spring rebuilding from scratch. While naturally being situated in my private home, the kitchen, unlike many other rooms, often ends up being a gathering point for friends and visitors. Inherently eating and cooking is social act, and while the general public might not have direct access to my kitchen at all times, the construction of the kitchen bore with it considerations influenced by the idea of its need to facilitate both residents and visitors. In that sense it can be argued that many of the same considerations are applicable to both giving form to a book and to a kitchen. Such as; do I feel drawn to engage with it upon my first encounter? How can it be aesthetic while remaining practical? How does its surface feel? What colours should go in it? Is it easy to navigate? Should it be?

• The Quality Inn Motel in South Portland, Maine, which—like all motels— emulates a homely atmosphere by hanging facsimile paintings on the wall, and providing bar soap in the bathroom instead of liquid soap in a dispenser, which clearly would be both cheaper and more practical.

• The Internet.

• The tiny Individual Study Rooms at the underground Bass Library at Yale University, which to me as an uninitiated passer-by looked more like a sort of solitary-confinement-sweatbox-torture-cell than a space for focused learning. The cubicles fit only a single person on a chair by a small desk and have accordingly been nicknamed “Weenie Bins” due to their small casket-like nature. Especially one such “bin” stands out as described by Isaac Arnsdorf in the Yale News:
“Weenie Bin C62F is just like the 43 other weenie bins in Bass Library, except that it isn’t. Like the rest, it is lit by an overhead bulb with a motion sensor to save energy in case the occupant forgets to turn it off or falls asleep. The oak desk in Weenie Bin C62F is labeled underneath with a number that is supposed to correspond to the room number but doesn’t—none of them do, a convincing testament to their interchangeability. This weenie bin, like the others, has one custom-de- signed Gothic chair, and only one. Before the library was renovated two years ago, the architects studied patterns of weenie-bin use and concluded that two-person weenie bins were almost always used by only one person—except when they weren’t. Generations of alumni recall weenie bin make-out sessions, and even Urban Dictionary defines the term with the sample sentence, “I was trying to study for my orgo exam while two freshmen were hooking up in the next weenie bin.”But those who frequent these subterranean dens of drudgery for their intended purpose know better than to fall for the initial impression that all weenie bins are created equal. In fact, the choice of weenie bin is critical, and students take it just as seriously as the work they plan to accomplish there. For example, to work on her fluid mechanics problem set, one senior told me she chose C10A because it’s on the end, which reduces the chance of a noisy neighbour by 50 percent. There are, in fact, other subtle differences. The precise location of the power outlets varies. Each weenie bin has a different bronze plaque with the name of the donor through whose generosity it was made possible—that is to say, whose $50,000 bought some 250 cubic feet of premium Yale study space. And, according to one graduate student, the temperatures also differ slightly, which is why he always prefers to study in C62C.”

• The first class cabins of British Airways commercial airplanes. At British Airways there are 3 types of first class seating; the full suite with doors, flat bed ‘Skycruiser’ seat (without doors) and ‘Sleeper’ seats. The full suite option comes complete with closing doors to ensure privacy, a mini-bar, a coat rack and storage. They also feature the ICE system on a 23-inch-wide (58 cm) LCD screen. The seat converts into a 2-me- tre-long (79 in) fully flat bed. Private suites are available on all A380- 800, A340-500, Boeing 777-200LR and 3-class Boeing 777-300ER aircraft. ‘Skycruiser’ seating is available on Boeing 777-200ERs and Boeing 777-300s. It features seats that extend to flat beds using integrated passenger seat control, along with the ICE system and a 19-inch- wide (48 cm) screen.First class seats may also include a personal minibar. ‘Sleeper’ seating is available on 3-class A330-200 and A340-300 aircraft. The seats feature a pitch of 1.8 m (72 in) (A330-200) and 2.2 m (86 in) (A340- 300) and lie nearly flat. On its newly delivered A380-800, First class features private suites, two shower-equipped lavatories and spa, and access to the first/business class bar area and lounge. Premium class seating is located on the entire upper deck of A380-800 aircraft. British Airways is expected to introduce an enhanced ‘private bedroom’ first class suite on the Airbus A380 by the end of 2015, followed by the Boeing 777-300ER in 2016, with the new suite based on the current design but “more like a private railway cabin.”

Kristoffer Li

Bomi Kim

Bomi Kim

Bomi Kim

Boyon Kang

Boyon Kang

Boyon Kang

Noem Held

IS 1–9999

1 2 3 4 5 6 7 9 16 31 (0 -1 -2 -3 -4 -5 -6 -7 -8 -9 -10 -11 -12 -13) 128 216 217 226 228 233 259 269 302 306 428 518 519 639 (1 -2 -3 -5 -6) 646 690 732 764 843 898 965 1000 1004 1007 1073-1 1413 1538 1745 1989 2014 2015 2022 2047 2108 2145 2146 2240 2281 2709 2711 2788 2852 3029 3103 3166 (1 -2 -3) 3297 3307 3602 3864 3901 3977 4031 4157 4217 4909 5218 5428 5775 5776 5800 5964 6166 6344 6346 6385 6425 6429 6438 6523 6709 7001 7002 7098 7185 7200 7498 7736 7810 7811 7812 7813 7816 8000 8178 8217 8571 8583 8601 8632 8652 8691 8807 8820-5 8859 (1 -2 -3 -4 -5 -6 -7 -8 -8-I -9 -10 -11 -12 -13 -14 -15 -16) 8879 9000/9001 9075 9126 9293 9241 9362 9407 9506 9529 9564 9594 9660 9897 9899 9945 9984 9985 9995

ISO 10000–19999

10006 10116 10118 (3) 10160 10161 10165 10179 10206 10218 10303 (11 -21 -22 -28 -238) 10383 10487 10585 10589 10646 10664 10746 10861 10957 10962 10967 11073 11170 11179 11404 11544 11783 11784 11785 11801 11898 11940 (-2) 11941 11941 (TR) 11992 12006 12182 12207 12234-2 13211(1 -2) 13216 13250 13399 13406-2 13450 13485 13490 13567 13568 13584 13616 14000 14031 14224 14289 14396 14443 14496 (2 -3 -6 -10 -11 -12 -14 -17 -20) 14644 14649 14651 14698 14750 14764 14882 14971 15022 15189 15288 15291 15292 15398 15408 15444 -3 15445 15438 15504 15511 15686 15693 15706 -2 15707 15897 15919 15924 15926 15926 WIP 15930 16023 16262 16612-2 16750 16949 (TS) 17024 17025 17203 17369 17442 17799 18000 18004 18014 18245 18629 18916 19005 19011 19092 (-1 -2) 19114 19115 19125 19136 19439 19500 19501 19502 19503 19505 19506 19507 19508 19509 19510 19600:2014 19752 19757 19770 19775-1 19794-5 19831

ISO 20000+

20000 20022 20121 21000 21047 21500 21827:2002 22000 23270 23271 23360 24517 24613 24617 24707 25178 25964 26000 26300 26324 27000 series 27000 27001:2005 27001:2013 27002 27006 27729 28000 29110 29148 29199-2 29500 30170 31000 32000 38500 40500 42010 80000 (-1 -2 -3)

details about each ISO standard can be purchased via
Happy Shopping!

Noem Held

Rustan Soderling

Rustan Soderling

Rustan Soderling

Bram van den Berg

Bram van den Berg

Bram van den Berg

"stanley smith" a hard-graft of stanley morison’s ubiquitous typeface "times new roman", and "adidas" ubiquitous tennis shoe "stan smith" (2016)

Luca Carboni

Welcome to the Museum, it’s where I live. It could be called “The Museum of Itself”. This museum has no director and no permanent collection as all the objects at some point have arrived here and at some point, one way or another, will leave. There are few visitors, who come and go, sometimes stay for longer, and eventually clean a bit around. But you, sit down. Thank you for the flowers, they are perfect for this pot.

Nobody knows for sure which objects are in the museum, how many of them there are, and for how long they have been there. The provenience of some of them is known, but most are just there. Who brought this one? No one.

Usually, the objects are moved around by the visitors, some more often than others, by some visitors and not some others. Some other objects have not been touched in months, or years, but at times can be found in places where they were not before, for unknown reasons. Who put that there? Nobody.

Some of the objects like to disappear for months, hiding. Where is it? Nowhere. When did you put it here?

Never. Do you want to take anything with you?

Some of the objects are quiet, others produce noises and cracks, even when they have not been touched. What was that noise? Nothing. The Museum never stays quite the same.

The Museum is large, high and wide. It has life in itself, although it is not its own. Animals live inside, and plants too. They are born here, or brought in by the visitors or by chance. The door is open, the window too. The fire is on, would you like a tea? Feel free to browse around, I have to finish this text.

There are objects of all kinds, shapes, dimensions and purposes. The objects in the Museum are not used very often, and most of them have no real purpose. What is this for? I don’t know. Please do come back, it’s not so far after all. You can stay for the night, there are a few beds around.

Sometimes it feels as if the objects were the real visitors of the Museum, and the visitors, all too busy in their daily businesses, were those being watched.

Luca Carboni

Montse Hervas Gamero

Every two or three days I
launder my sheets, wash the towels. I pick up
the room’s trash and hoover the house.

Window-cleaning fluid
Dainty colourful cleaning cloths Bleach mixed with water.

I need the best household cleaning gloves– my bathroom always makes me retch.

Every two or three days I
launder my sheets, wash
the towels.

I do not know who am I cleaning for – I only know he has 587 friends …

on Facebook.

Montse Hervas Gamero

Jessie Yingying Gong

Jessie Yingying Gong

Jessie Yingying Gong

Luca Carboni

Welcome to my house, it’s nothing but where I live. If it had a name, it would be called “The Museum of Itself”. This museum has no director and no permanent collection as all the objects at some point have arrived here and at another point, one way or another, will leave. There are few visitors, who come and go, sometimes stay for longer, and eventually clean a bit around. But you, sit down. Thank you for the flowers, they are perfect for this pot.

Nobody knows for sure which objects are in the museum, how many of them there are, and for how long they have been there. The provenence of some of them is known, but most are just there. Who brought this one? No one. They were here before me, and will stay here longer than me. I will try not to disturb them.

Usually, the objects are moved around by the visitors, some more often than others, by some visitors and not some others. Many objects have not been touched in months, or years, but at times can be found in places they have not been before, for unknown reasons. Who put that there? Nobody.

Some objects like to disappear for months, as if hiding. Where is it? Nowhere. When did you put it here? Never. Do you want to take anything with you?

Some objects are quiet, others produce noises and cracks, even when they have not been touched. What was that noise? Nothing. The Museum never stays quite the same.

The Museum is large, high and wide. It has life in itself, although it is not its own. Animals live inside, and plants too. They are born here, or brought in by the visitors or by chance. The door is open, the window too. The fire is on, would you like a tea? Feel free to browse around, I have to finish writing this text.

There are objects of all kinds, shapes, dimensions and purposes. The objects in the Museum are not used very often, and most of them have no real purpose. What is this for? I don’t know. Please do come back, it’s not so far after all. You can stay for the night, there are a few beds around.

Sometimes it feels as if the objects were the real visitors of the Museum, and the visitors, all too busy in their daily businesses, were those being watched.

Luca Carboni

Lou Buche

Lou Buche

Lou Buche


Geachte heer/mevrouw,

Hartelijk dank voor uw e-mail van 18-5-2016.

Due to the large number of requests for financial contributions or sponsorship for various purposes IKEA has decided to support three main goals. IKEA supports Unicef, Save the Children and WWF.

This means that your request does not qualify our goals. More information about IKEA’s sponsorship can you read by this link:

We thank you for your interest and wish you good luck.

Wij vertrouwen erop dat wij u hiermee voldoende hebben geïnformeerd.
Met vriendelijke groet,

Ikea Nederland



What can we label as an exhibition space? Can you be exclusive by being inclusive?
What role does the audience have? And what about the curator?

How does surroundings matter?

Surroundings do matter. Content as well. What matters the most however, is the audience.Without the audience the show would not exist, the play would be cancelled and the music turned off. We would all be elsewhere, busy with stuff, other stuff, stuff not relevant in this context. The governors palace would be occupied with other stories, the biennial speakers would be doing their jobs elsewhere, White Stuff owner Miguel Hervas Gomez would find himself in front of his chimney on what would be a cold rainy summer day and fanfare, fanfare would be sipping capariñas on a desert island somewhere in the Caribbean.However, several circumstances, such as this text, are proving this wrong. After a trio of varying settings created for this biennial, our construction and display is finally adapted to that of an exhibition, although, putting previous claims on hold, all fanfare set-ups naturally come to life as displays specifically supporting their respective narratives, and having this in mind possibly turns previous claims into complete nonsense. However, its status as an exhibition display helps turn the focus to the very values of such a display, allowing us to approach the act of displaying as a self-referential matter: depicted by its surroundings, shaped for its content and in the end solely existing because of it’s audience – you.

Being a platform displaying visual communication, the awareness and consideration of space has always been in sharp focus. Ever since its beginning, fanfare has been shaped by a nomadic flow, moving from one address in Amsterdam to the other– from small corporate spaces – to gym size bike stores. This process of constantly having to adapt to new surroundings has made the nomadic texture a fixed part of the fanfare DNA, and early on tuned our awareness towards the relevance of the space surrounding us. This has resulted in a profound recognition of what elements were at stake when proclaiming a space a fanfare space, and after endless moves, installments and digested reflections, we recognize the possibility of bringing your values along, as making space in itself becomes irrelevant. What matters is the values. With our modular display we become adaptable, we become free, and with this freedom we have realized an important part of what makes our identity – that we can settle into whatever, whenever. This approach is the result of an acquired distance to the places that surrounds us, a feeling which is contrasting the spaces that we get attached to: the places where we unwind and surround ourselves with personal belongings and memories – places where we feel at home. This is where you’ll find White Stuff Gallery, in the living room of its founder. With these different ways of approaching the relevance of space surrounding our settings, we let the concepts of both initiatives merge and question the transformations and values attached to spaces when they are transformed into a setting on display. How does one change the meaning of a space? And what happens when narratives of spaces are captured into a new form, for example in this book?



Miquel Hervas Gomez

What can we label as an exhibition space? Can you be exclusive by being inclusive? What role does the audience have? And what about the curator? These questions begin a process of research into the exhibition as a platform which functions as a publishing machine, exploring the effect and consequences of communication in various specific forms and contexts and thereby confronting not only inclusivity, exclusivity and viceversa, but also form and anatomy. It is an alternative to the settled scenario, where PR tactics play an integral role. We do not need galleries to show ideas, that’s why I found it intriguing to confront the communication and the actual space with the “leisure” art circuit.

White Stuff Gallery is a domestic space. Started in the dining room in my apartment to be precise, converted into an art space, slowly adapting new spaces and situations. Born from the necessity of having a coffee in the morning and the urgency of having a welcome carpet with a silly joke. After some shows, changing skin like a snake, moving to a friends house, fanfare I find myself now, for a day, like a nomadic room, at the 27th Brno Biennial for Graphic Design – Off programme in Czech Republic in 18th July 2016.

Working within the international standards and branding lifestyle, recreating a dining room will underline for a day the gentrification of personal space, like finding traces of your room in anothers room embracing how distant one place can be from another. Labeling not only our property, like dogs on the street, but being more aware of how personal the unpersonal can be. Creating social moments where the participants have to go beyond the space. The display commenting on the event itself. I conceive that the context or the “where” can be reformulated, and space converted into a new form, for example into this book.

17:53 pm

Miquel Hervas Gomez

Fanfare Inc.


Dear Ikea,

Hope it is okay that we are taking the liberty to write you with the proposal for a collaboration in creative settings. We are writing you on behalf of fanfare, a platform for visual communication and design in Amsterdam. In June we will programme our platform as a part of the official OFF-programme at the Brno Biennial for Graphic Design. As an extension of our platform we will during the biennial have a keen focus on the link between design and display.

Together with the Amsterdam based exhibition project White Stuff Gallery, we will dedicate a full day to the link between displaying design and domestic presence. White Stuff Gallery normally takes place in the dining room of the founder Miquel Hervás Gómez, the platform herewith frames various underground exhibitions always with a specific focus on the surroundings within which they take place. Where White Stuff has a specific focus on showcasing design in domestic settings, fanfare works with stimulating and promoting various design project to a larger audience. For the exhibition the two platforms will come together in their focus on using design in a spacious context as a socially gathering event.

This is where we want to involve you in our project:
Based on the aesthetics of Ikea we will transform the fanfare display into a domestic setting, fully based on and with classic Ikea furniture, speaking a language which everyone can relate to. The display will be an extension of a compilation of essays and illustrations collected from different Amsterdam connected designers and writers, which will be gathered in a modified version of an Ikea catalog.

We would like to invite to sponsor (or borrow us) the needed furniture and props to make a livingroom for our exhibition (max 40m2). And besides of that we wouldneed 110 left over Dutch Ikea catalogues (preferably recent ones).

Naturally we would like to involve you, and are very open to hear your thoughts on the project! We would therefore like to meet and talk further about the idea and possible continued collaboration.

We look forward to your response.
Kind regards, fanfare, Lotte van de Hoef and Freja Kir with Miquel Hervás Gómez, White Stuff Gallery.

Da Costakade 150
1053 XC


  • Lieven Lahaye
  • Andre Chapatte
  • Denisa Kollarova
  • Jonathan Aldenberg
  • Bart de Baets
  • Robin Scholz
  • Annahita Asgari
  • Loukie van Hasselt
  • Ruben Baart
  • Xavi Fernandez Fuentes
  • Brent Dahl
  • Kristoffer Li
  • Bomi Kim
  • Boyon Kang
  • Noem Held
  • Rustan Soderling
  • Bram van den Berg
  • Luca Carboni
  • Montse Hervas Gamero
  • Jessie Yingying Gong
  • Luca Carboni
  • Lou Buche
  • IKEA
  • fanfare
  • Miquel Hervas Gomez

fanfare inc. is an ongoing investigation into the current conditions of nomadic design labour. The series aims to reflect on new nomadic work practices through the lens of corporate culture. Each part of the research explores several points of view, drawing on interviews as well as both visual and written contributions. In line with the nomadic focus of the research, each chapter will be launched in a new location and context, in the process of which fanfare will develop an open framework that adapts to each temporary offshore location.