PAX/TONSTAD Wardrobe combination that adapts to your space
You first notice how the late afternoon light slides along the stained-oak, waking the grain and throwing a soft warmth into the room. The PAX/TONSTAD wardrobe combination — dark gray brown with stained oak veneer glass — takes up a generous stretch of wall, about two metres wide and taller than you expect, so its scale becomes part of the room’s rythm. Move closer and the glass feels cool beneath your palm while the veneer carries a faint texture; the doors close with a gentle, damped hush rather than a clunk. From a few steps back it reads as a composed,mixed-material piece; up close you pick out the small details that give it visual weight without shouting.
Your first look at the PAX/TONSTAD wardrobe in dark grey brown with stained oak veneer glass
When you step up to it, the dark grey‑brown frame reads as a quiet, heavy outline — almost matte at arm’s length — while the panels with the stained oak veneer behind the glass catch the light in thinner, warmer streaks. from a few paces the surface appears layered: the glass softens the oak’s grain so that the warmth comes through like a muted wash rather than a sharp pattern, and the narrow joins between doors make the front look more continuous than sectional. You’ll notice subtle differences as you shift position; at certain angles the glass reflects a pale echo of the room, at others the wood tone becomes more pronounced.
Getting closer reveals small, everyday details: fingerprints show faintly on the glass, the edges sit snug against one another, and when you open a door the motion tends to feel intentional rather than fluttery.You find yourself smoothing a sleeve or shifting your stance while peering inside, an unconscious pause as the materials register under your hand and eye.In lower light the dark frame can absorb some of the oak’s warmth, and the glass’s softening effect means the veneer’s pattern isn’t always sharply defined — a subtle trade‑off you notice most when the room light changes.
How the colours,grain and glass catch the light in your room
When you first stand in front of it, the dark grey‑brown faces tend to read as a soft, muted backdrop — they soak up direct rays without throwing harsh glare, so the surface can look almost velvety from most angles. The stained oak veneer beside and behind the glass catches grazing light differently: grain lines pick up highlights and reveal warmer, reddish undertones as the sun shifts. The glass panes interrupt that texture by reflecting the room and breaking up highlights; at certain angles it gives a faint mirror effect, while at others it acts like a soft glaze, letting the oak’s depth show through without equal brightness.
You’ll notice the look changing over the day. In cool morning light the finish leans more neutral and the grain is subtle; around late afternoon the veneer tends to glow and the contrast in the grain becomes more obvious. Under flat, overhead lighting the colours compress and the glass mainly shows reflections of lamps and ceilings. With low, side lighting the oak’s pattern appears more three‑dimensional and the glass produces longer, softer highlights. Smudges or fingerprints on the glass can catch the light first, briefly drawing your eye, and small movements — closing a door, smoothing a sleeve — will shift those reflections in ways that make the surfaces feel alive rather than fixed.
| light condition | Observed effect |
|---|---|
| Cool morning light | colours read cooler; grain subdued; glass shows clearer, sharper reflections |
| Late afternoon sun | Veneer warms and grain gains contrast; glass softens highlights |
| Flat artificial overhead light | Colours compress; surface appears more even; reflections confined to glass |
| low side lighting or integrated LED | Grain appears deeper; glass creates layered depth and gentle highlights |
Inside the frame: what you get in terms of shelves, hanging space and the two hundred by sixty by two hundred thirty six centimetre footprint
When you open the doors of the 200 × 60 × 236 cm footprint,the first thing you notice is height more than depth: the space reads tall and narrow. The 60 cm depth means hangers sit side by side without jutting into the room, and long garments can hang without pooling on the bottom unless you choose a full‑height rail. Inside, the layout tends to separate vertical zones — taller runs for coats and dresses beside shorter runs where you can fit two levels of hanging one above the other — with a stack of adjustable shelves and at least one run of pull‑out drawers or boxes that you can rearrange as you live with it.
Shelves slide into new positions with a small, familiar fidget; you’ll find yourself nudging a shelf up or down to fit a new stack of sweaters, or shifting organisers sideways to make room for a bulky jumper. drawers and KOMPLEMENT boxes sit flush so folded items fill the space without leaving odd gaps, and the combination of shelves and rails leaves a clear vertical rhythm as you scan for a shirt or a coat. Small changes — moving a shelf, adding a drawer — noticeably alter how the internal volume feels when you reach in, turning the tall box into a sequence of reachable zones rather than one uniform space.
| Interior zone | How it typically behaves when used |
|---|---|
| Tall hanging | Garments hang freely top to bottom; long dresses and coats clear the base without bunching |
| Double hanging | Two shorter rows stack vertically, making shirts and trousers easy to scan and grab |
| Adjustable shelves & drawers | Shelves accept shifting stacks of folded items; drawers accommodate boxes that can be combined to fully utilize the space |
where it sits and moves in your room: door swing, drawer access and circulation around it
When you place it against a wall or into a corner, you quickly notice how much of the frontal zone it occupies once the doors move. The doors swing outward on concealed hinges with integrated dampers, so the last part of the travel catches and settles into place rather than snapping shut.As you open a single door to reach an item, you’ll often step back a pace to give your arm room; if you open both doors to access the middle section, the visible opening becomes a wide working area that takes up the space directly in front of the unit. Small adjustments to the cabinet’s feet sometimes shift the way the doors sit, and you may find yourself smoothing the floor or nudging the frame slightly as you close them.
Drawers slide out smoothly and make their contents reachable without you needing to lean deep inside, but they do demand clear floor space when extended. In everyday use you tend to open a drawer and pause to shuffle items, which interrupts circulation in the immediate pathway; with multiple drawers or both doors open, the room’s flow in front of the wardrobe can feel compressed. For most layouts ther’s a predictable choreography: you step in to open, step aside to access, then step back to restore the walkway.
| Action | Typical effect on circulation |
|---|---|
| Single door opened | Requires arm’s-reach space; you usually still pass by without turning around |
| Both doors opened | Creates a broad working zone that occupies the front clearance |
| Drawer(s) fully extended | Blocks the immediate walkway; you tend to pause in front of the unit while arranging contents |
How it measures up to your space and storage expectations
In everyday use the combination reads as a tall, composed storage wall rather than a cluster of separate pieces. Opening a door reveals easily reachable upper shelves that tend to collect seasonal items, a middle section where hanging clothes sit without pinching at the fronts, and lower drawers that take repeated rummaging without the contents spilling forward. Small adjustments,like nudging a KOMPLEMENT box into a drawer or smoothing a stack of sweaters,feel familiar and frequent; the interior layout accepts those tweaks without much fuss.
| Area | Observed behavior |
|---|---|
| Upper shelves | Often used for folded layers and boxes; items are reachable but may require standing on tiptoe for the very top shelf. |
| Hanging rails | Clothes hang with enough front-to-back clearance to avoid crowding; bulkier garments can shift toward the doors when fully loaded. |
| Drawers & organisers | Drawers accept KOMPLEMENT inserts and are easy to reorganise; repeated opening can make items settle toward the front over time. |
the combination behaves like a configurable backdrop to daily routines: items are rearranged,boxes are nudged,and shelves are repurposed as needs change. It tends to hold a clear division between swift-access clothing and longer-term storage, while occasional rebalancing of contents feels normal rather than remarkable.
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Tools in hand: what assembly, adjustments and surface care look like for you over the first weeks
When you unpack the flat packs and lay parts out on the floor, the first day tends to be a mix of measured clicks and small improvisations. Screws and dowels come in bags that you sort by eye; you’ll reach for a Phillips head, a cordless driver if you have one, and a spirit level more than once. As the carcasses go up you notice how the adjustable feet change the whole feel — turning them under load to take out a tilt becomes a quick, repeatable motion rather than a precise, nervous adjustment. The soft‑close hinges behave as advertised in use: the doors catch and close slowly, but you’ll still find yourself nudging a door or two to check alignment and then loosening or tightening the hinge screws a hair so the gaps look even after a few days of opening and shutting.
Over the first weeks small habits shape the upkeep. You move interior organisers around a few times as you load shirts and shoes, sliding shelves a notch higher or swapping a hanging rail after noticing how items hang; the KOMPLEMENT boxes and drawer inserts get shifted until drawers feel fully used. Drawers and runners bed in with repeated opening, sometimes needing a discreet nudge to settle; the runners can feel a touch stiff at first and then smooth out after daily use.Surface care becomes part of the routine: glass panels show fingerprints and are often the first thing you swipe with a cloth, while the stained oak veneer shows dust along edges and faint marks where items have rubbed. You find yourself using a soft cloth and gentle motions more than heavy scrubbing, and noticing that spills are easiest to catch if attended to quickly. Small scuffs and the occasional alignment tweak are part of the early life — the combination of settling fittings, moving organisers and daily handling tends to reveal the few spots you return to adjust.
| Typical task | Tools you tend to use | Typical time in the first session |
|---|---|---|
| Assembling main frames | Phillips screwdriver, cordless driver, mallet | 1–2 hours |
| Leveling and adjusting feet | Spirit level, hands | 10–30 minutes |
| Hinge alignment and soft‑close checks | Small screwdriver, repeat door cycles | 15–45 minutes (spread over a few days) |
| Moving organisers and bedding in drawers | Hands, occasional repositioning | ongoing over first 1–2 weeks |
how It Lives in the Space
You don’t notice it at once; the PAX/TONSTAD Wardrobe combination, dark grey brown/stained oak veneer glass, 200x60x236 cm, simply takes its place and, over time, becomes part of the room’s fabric.In daily routines it softens into the edges of movement — doors opened with a slightly different rhythm, the shelves catching folded things, the glass keeping faint fingerprints as the room is used — and your use of space quietly adapts around it. Surface wear appears as small, familiar marks and the comfort of reaching for what you need becomes woven into regular household rhythms. After a while it stays.
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