Around 1923, Rietveld added two new elements to his furniture designs: asymmetry and construction using surfaces. Both elements were the result of logically reflecting upon previously attempted assignments, namely to create an open spatial structure with elements of equal value. The Berlin chair derives its name from the fact that it was especially designed for the exhibition room of Rietveld and Huszar in Berlin in 1923. This chair, which is now frequently referred to as 'the plank chair', also has a mirror image design. Rietveld started and ended his architect career converting a jewellers shop. He designed the Steltman chair and its mirror image with white leather upholstery for the jeweller Steltman. The asymmetric form does not define the space, but has an open structure to which Rietveld aspired in the furniture he designed in 1918-1924.