Dom Hans van der Laan unique oak high back bench.
Commissioned for Willibrordkerk (St Willibrord’s Church), Almelo.
The Netherlands c. 1960’s.
Van der Laan rarely used oak in his furniture. This unique piece is also without the copper nails typical of his work.
Willibrordkerk Almelo was designed by Jan de Jong according to the Plastic Number and the ideas of Dom Hans van der Laan.
Despite being one of the best examples of Dutch churches of the modernist era the church was knocked down in 2005 as part of a series of unfortunate closures. Two large friezes by Igor Strawinsky (1907 - 1989), son of composer, Igor Strawinsky, were preserved intact. A deep friendship had developed between Strawinsky and van der Laan, who highly valued sacred art.
Dimensions: 67” length, 25.25” depth, 44.25” height, 16” seat height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
SOLD.
Dom Hans van der Laan pair of low gray chairs.
Executed by Gorisse for a private library.
Bergeijk, the Netherlands c. 1979.
Pine, steel nails, paint.
Color is F2-05-45 from van Der Laan’s highly selective color palette of eight shades, which he developed alongside Dutch artist, Wim van Hooff (1918 - 2002), one of the leading and most outspoken color consultants of the second half of the twentieth century.
Can be pushed together to form a bench.
Dimensions: 25.5” width, 28.5” depth, 35.5” height, 16” seat height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan chair with Open Arms for Raadhuis Budel.
The Netherlands c. 1962-66.
Ash, copper nails, black enameled steel legs.
Raadhuis Budel (Budel Town Hall) was designed in 1962 according to the principles of the Plastic Number by Dom Hans van der Laan. Jan de Jong was the architect for the project, which was completed in 1966. The building still exists however it was completely renovated in 1997. Much of the furniture was destroyed, though a few residents of Budel saved pieces from the containers they were removed in.
Dimensions: 24.25” width, 20” depth, 42” height, 19” seat height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan very rare pair of low chairs with galvanized steel legs.
The Netherlands c. 1967
Most likely made to furnish a project by Jan de Jong.
Pine, galvanized steel.
Low chairs like these are amongst the rarest of all the Dom Hans van der Laan furniture that has appeared on the market.
Dimensions: 25.25” width, 22” depth, 29.5” height, 16.75” seat height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan unique daybed/bench with copy of original drawings.
From a private Doctor’s practice in Sint-Michielsgestel, the Netherlands c. 1970.
Spruce, copper nails, paint.
Color is 60.05.Y50R from van Der Laan’s highly selective color palette of eight shades, which he developed alongside Dutch artist, Wim van Hooff (1918 - 2002), one of the leading and most outspoken color consultants of the second half of the twentieth century.
The doctor’s practice was designed in the Bossche School style by Vermeulen Architects in Veldhoven, the Netherlands. It is extremely rare, if not unique, to have a piece together with the original drawings. Materials and techniques are specified on the drawings: “First class selected spruce…Bone-dry processed - planed…Everything pre-stained…Connections cross pin and copper rivets”
Dimensions: 69” length, 25.75” depth, 19.5” height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan chair for the Councilors’ Room, Raadhuis Budel.
The Netherlands c. 1962-66.
Ash, copper nails, black enameled steel legs.
One of twelve made.
Raadhuis Budel (Budel Town Hall) was designed in 1962 according to the principles of the Plastic Number by Dom Hans van der Laan. Jan de Jong was the architect for the project, which was completed in 1966. The building still exists however it was completely renovated in 1997. Much of the furniture was destroyed, though a few residents of Budel saved pieces from the containers they were removed in.
Dimensions: 24.25" width, 21.5" depth, 49.5" height, 19.25" seat height (without cushion)
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan high chair from the boardroom at Raadhuis Budel.
The Netherlands c. 1962 - 66.
One of twelve made.
Ash, copper nails, black enameled steel legs.
Original leatherette seat
Raadhuis Budel (Budel Town Hall) was designed in 1962 according to the principles of the Plastic Number by Dom Hans van der Laan. Jan de Jong was the architect for the project, which was completed in 1966. The building still exists however it was completely renovated in 1997. Much of the furniture was destroyed, though a few residents of Budel saved pieces from the containers they were removed in.
Dimensions: 23.5” width, 23.5” depth, 49.75” height, 18.75” seat height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan stools.
*Sold separately, one available.
The Netherlands c. 1970.
Pine, steel nails.
Acquired from a private catholic school in ‘s-Hertogenbosch, the Netherlands.
Dimensions: 18.75” width, 12.75” depth, 16.75” height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
SOLD.
Dom Hans van der Laan solid bronze candlestick.
Amstelveen Chapel, The Netherlands c. 1960s.
Dom Hans van der Laan believed in the totality of design in the spaces he created and attributed just as much importance to the design of individual objects. He had a hand in every single detail present in his buildings: furniture, linens, bible covers, plaques, tiles, new families of fonts for stone encryptions, even monastic robes. Most of his altar ware and candleholders were made by Utrecht gold and silversmith, Jan Noyons (1918 - 1982), in accordance with designs van der Laan.
Noyons was one of the most important gold and silversmiths of post war Holland. Not a passionate form innovator but extremely precise about the finishing of items, he practiced the craft in the way it had already been carried out for centuries, as an artisan. Most often Noyons was no more than the executor of van der Laan’s ideas, although they always discussed the designs together beforehand and in some cases also reached agreement about adjustments to the form of the design. Small items like this designed by van der Laan are extremely rare, the reason being that most churches regarded them as too sacrosanct to sell.
Literature:
Pp. 105 - 111, The Willibrordkerk Almelo: The Legacy of. Dom. Hans van der Laan, Jan de Jong and Théodore Stravinsky, Hans Holtmann, Amsterdam, 2004. Similar examples p. 30.
Dom Hans van der Laan: Tomelilla, Caroline Voet, Architectura & Natura, 2016. Similar examples pp. 229 - 230.
Dimensions: 11.5” width, 3.5” depth, 14.75” height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
SOLD.
Dom Hans van der Laan unique daybed with headrest.
Nijmegen, the Netherlands c. 1970.
From home of Architect, Dick Pouderoyen.
Pine, steel nails, paint.
Pouderoyen was a close friend of van der Laan and worked closely with him on the furniture and color palette for his home.
Literature: Similar examples p. 57, pp. 152-153 Dom Hans van der Laan, Alberto Ferlenga and Paola Verde, Architecture & Natura, Amsterdam, 2001
Dimensions: 85.5” length, 32.75” width, 28.75” height, 12.5” seat height.
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan unique high backed chair.
Commissioned for Willibrordkerk (St Willibrord’s Church) Almelo, the Netherlands c. 1964.
Used exclusively by the pastor during mass.
Tropical hardwood, copper nails.
Willibrordkerk Almelo was designed by Jan de Jong according to the Plastic Number and the ideas of Dom Hans van der Laan. Despite being one of the best examples of Dutch churches of the modernist era the church was knocked down in 2005 as part of a series of unfortunate closures.Two large friezes by Igor Strawinsky (1907 - 1989), son of composer, Igor Strawinsky, were preserved intact. A deep friendship had developed between Strawinsky and van der Laan, who highly valued sacred art.
Literature: Pp. 113, Hans Holtmann, The Willibrordkerk Almelo: The Legacy of. Dom. Hans van der Laan, Jan de Jong and Théodore Stravinsky, 2005
Dimensions: 25.25" width, 22" depth, 52" height, 19.25" seat height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
SOLD.
Dom Hans van der Laan unique stool with copy of original drawings.
From a private doctor’s practice in Sint-Michielsgestel, the Netherlands c. 1970.
Spruce, copper nails, paint.
Color is 60.05.Y50R from van Der Laan’s highly selective color palette of eight shades, which he developed alongside Dutch artist, Wim van Hooff (1918 - 2002), one of the leading and most outspoken color consultants of the second half of the twentieth century.
The Doctor’s practice was designed in the Bossche School style by Vermeulen Architects in Veldhoven, the Netherlands. It is extremely rare, if not unique, to have a piece together with a copy of the original drawings. Materials and techniques are specified on the drawings: “First class selected spruce…Bone-dry processed - planed…Everything pre-stained…Connections cross pin and copper rivets”
Dimensions: 22.5” length, 12.75” depth, 18” height
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.
Dom Hans van der Laan unique desk with copy of original drawings.
From a private doctor’s practice, Sint-Michielsgestel, the Netherlands c. 1970.
Spruce, copper nails, paint.
Color is 60.05.Y50R from van Der Laan’s highly selective color palette of eight shades, which he developed alongside Dutch artist, Wim van Hooff (1918 - 2002), one of the leading and most outspoken color consultants of the second half of the twentieth century.
The Doctor’s practice was designed in the Bossche School style by Vermeulen Architects in Veldhoven, the Netherlands. It is extremely rare, if not unique, to have a piece together with the original drawings. Materials and techniques are specified on the drawings: “First class selected spruce…Bone-dry processed - planed…Everything pre-stained…Connections cross pin and copper rivets”
*Matching stool available.
Dimensions: 45” width, 39.25” depth, 30” height.
About Dom Hans van der Laan (1904 - 1991):
Dutch Benedictine monk, architect, and leading figure of the Bossche School, Dom Hans van der Laan developed a new vision for architecture from within the confines of the monastery, completely uninfluenced by discussions in the world of architecture and design.
Not perceiving the golden ratio to be relevant to the field, van der Laan developed a theory of the ‘plastic number’, which he developed over decades by methodically studying the rhythms, rules and proportions found in nature. The mathematics of beauty.
Approached from a philosophical, theological and technological perspective, his architecture and furniture examines the primeval origin of architectural principles and the fundamental essence of the form. On both a theoretical and practical level, van der Laan sought to give significance and importance to simplicity. A voice to silence, a form to the void.
If van der Laan’s innovative work is characterized by an all embracing simplicity, numbers are the only decoration present. These numbers govern all formal choices and establish a relationship between the parts but, once used, disappear without a trace, leaving only the invisible harmony that permeates.
Additional information on the work of Dom Hans van der Laan can be found here.
Shipping + Delivery: Shipping costs are not included in the sale price as they vary greatly depending on location. Please contact us for shipping or delivery costs. Local (NY) delivery and pick-up is available, we also ship nationwide and worldwide. We work to obtain the most affordable shipping rates possible while ensuring that pieces are delivered safely.