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I DON’T CARE, BUT I DO HAVE STYLE. Asymmetrical chair different on all sides - Roos Schneijderberg (2019)

Coated rough steel and off white velvet upholstery
72 x 73 x 58 cm / 28,23 x 28,74 x 22,83 inch

SIZE DOES MATTER. The 1000 kg table still feeling light as a flying shuttle - Roos Schneijderberg (2019)

Carrara marble, stainless steel frames and construction
460 x 175 x 75 cm / 181,10 x 68,90 x 29,53 inch
Weight: 1000 kg / 2205 lb


The I DON’T CARE, BUT I DO HAVE STYLE - CHAIR is a sexy, powerful, arrogant, stylish, 80’s breathing, imperfect, rebellious still luxurious chair. Communicating with confidence; I am what I am…

The I DON’T CARE BUT I DO HAVE STYLE -CHAIR is different on all sides. The armrests are very sharp and dissimilar on both sides although it’s not immediately noticeable. The side profiles are also not alike. A sharp lightning flash can be seen on the side of the short armrest. On the other side with the larger protruding armrest there is a more subtle and simple detail placed: only a small diagonal line to create the right balance. Everything is essentially "imperfect", yet the end result feels relatively "perfect". This is also symbolic of how life can be perceived. From a distance one can see more easy the beauty of life and think of the whole as relatively “perfect”, while zooming in one would see all the imperfections.

Regarding the chair’s design; so many lines run uneven in relation to one another that the mind does not immediately realize which are alike and which aren’t. Lines that seem to run similar run essentially unevenly and vice versa. The original working title of this chair was DON’T ALWAYS TRUST YOUR MIND. Nevertheless, it was decided to give the chair more humor and guts with the title I DON’T CARE, BUT I DO HAVE STYLE. Which is actually an encouragement to have a healthy degree of immunity to what others might think and to wear one’s own imperfection with pride. Ultimately, the contrasts are what makes one unique, fascinating and inspiring.

I DON’T CARE BUT I DO HACVE STYLE - CHAIR is like a luxurious cashmere sweater with deliberately designed holes of wear in it.

The weld spots of the steel of the chair have been deliberately kept visible to create depth by showing it’s history, in line with the Japanese Wabi-Sabi teachings that “objects with a past” have more value. The making- / creation process is still visible and is cherished. It proves the handiwork of the chair. But as a polished contrast a high gloss lacquer layer has been applied over it. Furthermore the rough steel and the powerful sharpness of the frame form counter-acting forces with the luxurious, soft and light-colored velvet upholstery.

The backrest is designed relatively low to optically make the chair appear wider and to give it associatively more steadyness and self-assurance. It exudes calmness and dignity but remains unpredictable and rebellious. Opposite forces are present simultaneously; luxury and rawness, charm and arrogance, sharpness and softness and perfection and imperfection.


The SIZE DOES MATTER table weighs 1000 kg, is 460 cm wide, 175 cm deep and made of 3 cm thick Carrara marble. Despite its size and mass, the table still looks airy and in motion like a shuttle floating through space.

The difficulty was to make the table demountable and, despite the size and weight, to create one relatively small base. A structural stainless steel framework has been designed to realise this with, as further complication an oblique slope: a diamond shape, to evoke even more the associations of lightness and movement.

The table exudes luxury and refinement on one hand by the use of marble and the oval shape design of the top. On the other hand, there is the sharpness and rawness due to the sloping foot and the sharp black triangles. These black profiles cut through the massive round energy like sharp knives.

The black triangle shaped profile on the frontside of the table base is partly folded to the left side of the base, it is a small playful imperfect detail.

While the backside of the table base has no black triangle but remains empty, suitable because here the black triangle of the table top is also minimal, only its point is visible on this side.

The aim is to make two different sides of the table as well as different energies working within the table; the void and the mass.


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