The idea for the Boring Collection was born in 2015, during a large office project in Utrecht. After carefully designing the space, the architects found themselves forced to use standard, budget furniture: white desks and black task chairs. Once installed, the atmosphere drained away. The design effort was overshadowed. Out of that frustration came a simple but decisive question: if cheap office furniture cannot be avoided, why not make it in grey?
The name Boring started as a joke, but it stuck immediately. Friends and colleagues remembered it far better than the name of the design office itself. That was when it became clear that Boring was not only an honest name, but also a relevant one.
Remi Versteeg and Stijn de Weerd approached Pieter Kraaijenbrink and Joep Dyckhoff to develop the idea further. With Pieter they looked for archetypical parts that could form the foundation. The task chair became the first spark, when designer Bob Herber proposed making it in grey. It was a playful suggestion that defined the direction of the collection. Pieter was enthusiastic from the start. The real challenge was convincing Hans Lensvelt. Once the idea was connected to a real project, he quickly recognised its potential.
The official launch followed in 2016 at Salone del Mobile in Milan. The installation was built on two universal icons of boredom: the desert and the paper ball. Combined, they created an installation that served as a sequel to a film by Lernert & Sander. Because there was no time to produce enough paper balls in advance, visitors were invited to join in. Throwing paper into the installation became the perfect activity, playful and consistent with the spirit of Boring.
Lernert & Sander’s involvement was highly relevant. When first asked if they wanted to do a boring project, they loved the provocation. Yet it proved more challenging than expected, because their films often rely on monochrome backdrops, and now the subject itself was monochrome. At one point they nearly handed back the assignment, but in the end they embraced it fully, using office humour as the main language of the communication.
The installation was awarded the Milano Design Award for Best Concept, an outcome that came as a complete surprise. The irony was fitting: a collection designed to be boring, recognised at an event where everything is about attention. International press picked up the story immediately. The New York Times, Wallpaper, Dezeen, Domus and many others reported on the collection, many describing it as one of the highlights of the fair.
From the beginning, the principle behind the products was clear. They had to remain archetypal. To blend into the background, they could not be remarkable. Each object had to be an office archetype, stripped of anything that might attract attention. This principle has remained important ever since. Colour was equally relevant. Many experiments were carried out before settling on RAL 7044. It proved to be the most fitting shade: subtle, adaptable to its surroundings, and widely available, which also kept production efficient and affordable.
After Milan, Dutch architects were the first to adopt the collection. Odette Ex used it at BPD in the Burgerweeshuis in Amsterdam. Aart van Asseldonk applied it in De Ploeg, Gerrit Rietveld’s former factory building. These projects showed what had been intended: Boring disappearing into the background while the architecture and history of the buildings took centre stage. Some clients needed persuasion. At the Provinciehuis in Antwerp, for instance, a careful presentation convinced Xaveer de Geyter of the value of furniture that withdraws rather than dominates.
In 2021, Beyond Space was founded. The Boring Collection fitted naturally into the studio’s multidisciplinary philosophy, which moves between architecture, interiors and objects. The scale of furniture blended seamlessly into this approach. New products were added, including small accessories such as the tape dispenser and wardrobe. These were designed by returning to the essence of what such objects should be: simple, robust and reliable. In a market where quality had often declined, Boring aimed to restore dependability to everyday items, like dispensing tape with one hand.
The changing office landscape also shaped the collection. Hybrid work and flexibility created new needs. The Future Desk was developed to address these, offering duo desks and the possibility to stand again. The designers follow such shifts closely, but do not create products for trend’s sake. Boring develops only what is necessary.
In 2024, Boring Collection became an independent brand. The decision was driven by business structure and international ambition. At Lensvelt, the collection was mostly distributed through their own projects, limiting its reach. Independence created a level playing field. Today, Boring is available through dealers such as Desque, Big Brands and Interior Works. Distribution has been improved, products are kept in stock for fast delivery, and sustainability measures have been strengthened. With these foundations in place, the focus now turns to international growth.
Looking ahead, the ambition is clear. Boring aims to expand into more countries, often with the tongue-in-cheek motto of “world domination.” The goal is to cover every truly necessary office item, but never those that are incidental. There will be no Boring sofa, for example. Sofas are allowed to want attention. Boring focuses on the essentials, and there is still much to improve, particularly in stationery. Ideas even extend to a Boring hotel room, a space stripped back to self-focus. And perhaps, one day, a “Not So Boring Collection” might appear, simply for fun.
The Boring Collection began as a joke, grew into a paradox, and has become a brand recognised for redefining what office furniture can be. By quietly removing distractions, it creates space for the things that matter.
Boring Collection gives room to colour.
