A WHAT?

The walls of the new build of the traditional premises at Prinsessegracht 4 are double-layered glass panels, built to hold roofs, carry weight, let light through, but not necessarily contain. Little decorations of crowns spread over the sides of the window, which, for one, serve as a reminder of the royal heritage of these walls and as sunshades for all those roaming behind. The association of the Glasbak with royalty is lost, or at least not known to the inhabitants of the cage-like structure. Still, the real inhabitants of these walls hold these crowns in high regard.

You see, while everyone goes on about their life, living out the stress of school or work, laughing, hastening down the floor or looking straight through the windows at the office building on the other side, this story plays in between this space and lies right in the gaze of those looking out and through the windows:

 

1Like a shadow with the sun, a small figure awakes on the walls. If you're not too occupied with looking at what's on the glass or behind it, you could recognise its silhouette. To be able to really watch this figure, you need to see between the glass, between the office walls and the crown ornaments and turn your eyes towards the hidden. It's difficult for the human eye to decipher what's not clearly visible. But every once in a while, a silhouette is seen on these walls. Observers have said they have only seen it when it's moving over one of the posters, flyers, cracks or marks on the wall or when it's jumping from one glass panel to the other, where it has to overcome metal barriers or a sequence of concrete walls. How else would one see a shadow on the glass?

THE EIGHT-FOOTER

2Silently mopping the floor, a woman in a blue vest worked in the hallway around PD.202. She had already completed her task down the stairs in the old building. Every day, she comes with her team of workers, but like most others, they haven't encountered anything or anyone in the windows they clean with their utensils. As she came to clean the Glasbak this morning, she yet again didn't give any attention to the little silhouette sitting at the bottom of the window, closely watching the floor. The woman continued mopping the hallway, but the small thing in the window, unbothered by the visitors, continued watching the floor.

Have you ever said a word one too many times, and all of a sudden it starts to feel wrong? The sound of it becomes awfully weird, and you try adjusting it by saying it in different paces, but it won’t work. The shadow had an occurrence similar to this word babble that morning. But instead of a word, the gnome-like creature couldn’t get its head around a bizarre shape on the floor in front of it. This shape had been there for quite some time, and surely enough, our shadow sees it every day! But overlooking is not just a human characteristic. And so what we believe we see every day, we actually never watch. And so it sat down and watched this mark on the floor. Investigating its shape, the silhouette began to wonder where the mark imprinted on the floor had come from. In a circle, three pairs of three, and one of two dots, formed a unique composition. Unlike a scratch from a chair or a stain from paint, this mark felt part of the floor like a tattoo or sunburn on one's skin. It was of a limestone-white colour that stood out against the grey floor. Was this the sign of a creature like itself, living in these halls? Overlooked by everyone and only spotted long after its passing? Maybe it was standing right in this position, looking out of the windows, unable to be seen, cursed to have a lonely existence. The thought lingered longer than it should have. The shadow tilted its head. The mark did not resemble a spill or a scrape; it felt deliberate. Slowly, a different image formed in the shadow’s mind. What if this was not a sign left by accident, but a footstep that had been indelibly imprinted on the ground? It counted again. Three pairs of three, and one pair of two. Eight in total. Who had been this fellow? – moving through the halls on eight careful legs, each step placed with intention, each foot pressing just enough to leave itself behind. Perhaps it passed through only once, crossing the hallway at a time when the building was still learning how to echo.

I'M CURIOUS

In the early heat of June, the walls, windows, tiles, and halls that create this playground sometimes seem empty. It’s not a lonely emptiness that someone might experience wandering through an old forest. But an emptiness full of suspense, a child fears, that’s working inside, well knowing other children are playing outside. In this atmosphere, it’s especially hard to take the time to stop and look at the walls, their display and what it might mean. A place and building like this one, like a house, that is normally a place for retreat, becomes a transitional space. The visitors come and go, but the focus lies on the outside world – the ultimate destination.

In these times, the shadow overcomes this feeling of being left alone by finding a calmness in the remains of the building's visitors. You see, while everyone tries to grab the attention for an event, a fundraiser, to get help or inform people, with flyers and posters, often the most attention is given to these printed pieces by our little silhouette. Of course, the visitors and our shadow don’t interact, but sometimes the A4S and A3S feel like letters, given to the little creature. So polite as it is, everything gets read and inspected in time. Trying its best not to give too much attention to the folk outside in the courtyard, soaking in beams of sunlight. This hallway was not a common space for the shadow, since it was usually packed with people whirring around. Jumping playfully from wall to wall, it stopped at the sight of something new.

On a black board, not one of cork but an actual black board hovering 4 centimetres above the wall, with panels 60 by 40 centimetres, there was a black box. The box hung on one of the panels and magically seemed to stick to the wall. It was 20 cm high and 10 cm wide. On the front, where the narrow opening was, someone glued a black piece of paper with a hole.

In a yellow, frilled medieval type, it read on the paper:

Are you superstitious? Do you believe in astrology? Do you ever knock on wood for good luck? And when you’re toasting with friends – do you actually look them in the eyes? Do you have some lucky charm or object you always carry around? Or are you into that kind of thing at all? I’m curious, tell me about it!

Lying on the box was a stack of paper for people to take.

The shadow lingered at a distance at first. Objects that invited participation were usually meant for hands, for voices, for presence. Still, the box felt different from the posters and flyers. Those spoke outward, hoping to be taken away. This one waited inward, collecting. Intrigued, the shadow carefully covered all sides of the box, examining the object that felt not like a letter but an invitation, a request. Curious about how to react to this invitation, it moved the stack of papers slightly, lifting a corner before letting it fall back into place. The shadow watched the motion closely. That, it decided, was enough. It had touched the invitation without accepting it, acknowledged the request without responding. With a small, almost apologetic pause, the shadow withdrew, stretching itself back along the black board until it reached the wall.

MIRROR MIRROR ON THE WALL

4 In the mirrored hallway, where reflections layered themselves endlessly, and even the shadow could lose track of its own outline, the central column stood like an island. It was a familiar surface – one the shadow passed often – but that day something new caught its attention. Halfway between floor and ceiling, a sheet of paper clung to the column in an awkward stretch, its top bending slightly as if it had been asked to reach farther than intended.

The shadow slowed. Objects that bent were always worth a closer look. With a small hop, it landed on the narrow ledge of overlapping posters beneath, balancing itself while the mirrors multiplied the scene: one column, ten shadows, a hundred red letters. The paper was held in place by strips of tape at its corners and one at the top middle, pulled tight. The shadow traced them with its eyes, noting how the paper resisted falling, how it strained upward. The red serif text filled the page with discipline. Every letter stood still, lined up carefully inside a thin rectangular frame that left a quiet margin all around, like a breath held back. It leaned closer. At the top, two rows of names sat together, calm and orderly, as if they knew each other well. The shadow could not read them the way humans did, but it felt their weight – the presence of people who had once been here, or would be soon. Lower down, the structure changed. Three neat rows divided the bottom of the page into parts: dates resting on the left, organisers standing firmly in the middle, locations anchoring the right. The shadow liked this arrangement. It felt balanced, like stepping stones across water. Only when it slid down the column, head first, did it notice the title – placed curiously at the very end of the page, as if it had arrived late to its own announcement.

INTERLUDE

Spread over two window panels next to an emergency water hose, there was an assembly of what looked like stickers. In order, a row of arrowheads was placed in the middle of two panels that were part of a single large window with six parts. There once were six arrowheads, three on each panel, but two of the left side must have been ripped off. Only the glue that remained still indicated that they once were there. The arrowheads pointed towards the left.

The shadow noticed them mid-jump, catching itself on the glass just before sliding past. It doubled back, feet skidding, and landed squarely in front of the arrows.

 

It leaned in. Left, left, left.

Always left.

 

The shadow tested this instruction immediately. It ran along the window, leapt onto the first arrowhead, and pushed off. The glass answered with a soft, dull echo. It landed on the next, then the next, following the direction as if the arrows were stepping stones. When it reached the torn spaces on the left panel, it hesitated. The glue marks still shimmered faintly, like ghosts of motion. The shadow jumped anyway, placing its foot where an arrow must once have been, trusting the memory of the shape. It worked – almost. The damaged arrow bent the rhythm, and the shadow slipped, spinning once before catching the frame with an outstretched arm. Laughing silently, it swung itself back up and tried again, this time running faster, pretending the missing arrows were simply invisible. On the right panel, the three intact arrowheads gleamed with confidence. The shadow sprinted across them, bounced off the last, and landed near the stairs. For a moment, the shadow paused, then turned and ran the sequence again, backwards this time, deliberately disobeying the arrows just to see what would happen. Nothing happened. The arrows didn’t seem to care. With one final hop, it pushed off the glass and disappeared down the hallway, leaving the arrowheads pointing left, quietly suggesting a game to whoever might look closely enough next.

A RIGHT TO THE BUILDING

6The cleaners, the keepers of the building, had left the decorated window cage and made their way downstairs. Blue vests and mops were hidden away in a broom closet in the hallway. The shadow followed with stretched jumps, making sure to keep its safe distance. It rushed through the glass panels, jumped the corner and let itself slide down the wall, round and round the staircase as if it was going down a funnel. At the bottom of the stairs, it ducked under the blue rail and waited until the team headed toward the exit. When the path was clear, the shadow took a turn and continued its descent down to the basement.

After slipping through a small cleft in the door, the shadow realised it hadn’t gone where it was heading now, for a long time. The basement received the shadow without resistance. The air was cooler here. Pipes ran along the ceiling like drawn lines, tables and lockers stood in a corner, and multiple passages opened up in front of the silhouette. A long hallway with bright lights from long tubes on the ceiling opened up around a corner. A dark room with checkered windows offered only a view of a few shelves filled with stacks of paper. But the shadow had already decided not to take either of the two options. It took a left corner right after leaving the stairs, to stand in front of two doors. It rested on the wall for a second before it sighed and slipped through the left door to enter the room, from which it first entered the building.

 

 

 

 

 

 

Commonly, one enters the building from the big entrance opposite the canal. The shadow had observed it daily. At eight, the first individuals enter the premises. Around nine, a horde of people rushes up the stairs. Over the day, more and more people come and go. All of them use that staircase, entering or leaving through the blue doors. Close to none of them seem to notice the metal plate on the wall to the left. The little silhouette thought of this now, since it had been surprised by how clearly it still remembered the place it stood in front of, now, its own private entrance, it hadn’t been to for such a long time. The metal plate rose about 1.5 meters above the ground. The plate, 120 by 160cm, displays metal letters protruding around a centimetre. The letters on this display say:

29 SEPTEMBER 1932 BESTOND DE ACADEMIE VAN BELDENDEN KUNSTEN 250 JAREN EEN NIEUW GEBOUW IN DIT JUBILEUMJAAR ONTWERPEN KWAM IN MOELIJKEN TIJD TOT STAND DOOR KRACHTIG STREVEN VAN DEN RAND EN VASTE BEDING VAN HET DAGELIKSCH BESTUUR MR. DR. R. S BAKERS - H. VREEDE – MR. JK. VD. HAAGEN EN VAN DEN DIRECTEUR DR. IR. J. H. PLANTENGHA MEDE DOOR GROTEN STEUN VAN RIJK EN GEMENTE DE DOCENTEN DEDEN DEZE PLAAT AANBRENGEN IN JANUARI 1938

Not sure of what it said, the shadow knew it had its proper place at the entrance of the building. For a while, it imagined a plate marking its own entrance. It wouldn’t be made of a heavy metal but a light material, not there to last till eternity, but give the shadow its own right to the building and its walls.

“A Shadow Wanders The Walls Of These Halls”
A Collection Of Short Stories

These stories have no specific order - browse as you like

The shadow may or may not have looked like this. Since we only have very little, very precarious sources for this creature, the author took the liberty to illustrate it as such.

3

5

Are you superstitious?

Do you believe in astrology?

Do you ever knock on wood for good luck?

And when you’re toasting with friends – do you actually look them in the eyes?

Do you have some lucky charm or object you always carry around?

Or are you into that kind of thing at all?

I’m curious, tell me about it!

Are you superstitious?

Do you believe in astrology?

Do you ever knock on wood for good luck?

And when you’re toasting with friends – do you actually look them in the eyes?

Do you have some lucky charm or object you always carry around?

Or are you into that kind of thing at all?

I’m curious, tell me about it!

In a circle, three pairs of three, and one of two dots, formed a unique composition. Unlike a scratch from a chair or a stain from paint, this mark felt part of the floor like a tattoo or sunburn on one's skin. It was of a limestone-white colour that stood out against the grey floor.

29 SEPTEMBER 1932

BESTOND DE ACADEMIE VAN BELDENDEN KUNSTEN 250 JAREN

*

EEN NIEUW GEBOUW IN DIT JUBILEUMJAAR ONTWERPEN KWAM IN MOELIJKEN TIJD

TOT STAND DOOR KRACHTIG STREVEN VAN DEN RAND

*

EN VASTE BEDING VAN HET DAGELIKSCH BESTUUR MR. DR. R. S BAKERS - H. VREEDE

– MR. JK. VD. HAAGEN

*

EN VAN DEN DIRECTEUR DR. IR. J. H. PLANTENGHA

MEDE DOOR GROTEN STEUN VAN RIJK EN GEMENTE

*

DE DOCENTEN DEDEN DEZE PLAAT AANBRENGEN IN JANUARI 1938

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“Grootste Hits Aller Tijden”
“Grootste Hits Aller Tijden”
“Grootste Hits Aller Tijden”
Author: Jakob Blessing / Supervisor: Quentin Creuzet

Prinsessegracht 4 1

Glasbak – PD.202 – Hallway – Prinsessegracht 2

Juni Café - Bleijenburg 3

Mirror Hallway – Pillar – Prinsessegracht/ Bleijenburg 4

BB.112 – Staircase – Bleijenburg 5

Basement – Entrance PC.001 – Prinsessegracht 6

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