The approach of Aldo Bakker (Amersfoort, NL 1971) is driven by exploring borders between humanity and inhuman aspects in design, a hand drawn, architectural exploration into endlessness. With regards to this subject, it is no coincidence that Aldo chose glass as his starting material to express himself with: glass has a certain ‘inhuman’ aspect, it is the ideal material to produce shapes which seem almost perfect and artificial, a way for Aldo to ‘drift away’ from an obvious visible human touch. The combination of human rituals and in a way perfect, artificial shapes remains a recurring theme and it forms the indispensable tension in Aldo’s work. Over the years, Aldo became more convinced of the place of his work in the current design era. He was able to break with the conventions and developments that have drawn the face of Northern European design over the last decades. One common adage sums up the mental crisis behind these conventions: ‘why keep designing, when we are already surrounded by an excess of design?’ Aren’t we surrounded by enough shape already as it is? Overthrowing this kind of thinking already acts as motivation, as is the way in which the first reactions to these conventions lack subtlety and self-reflection.