Common depictions of “home” visualized in images and magazine photographs are used as a marketing trick that clears the scene from elements such as person, body, and action, producing a false representation of the aesthetic and static integrity of a space. Time freezes as a single sterile moment with no sign of activity or human error, and it seems as if the idealization of people’s lives is reflected in the pursuit of a perfect scene. Happily Ever After shatters the accepted concept associated with interior design catalogs, presenting instead a space that contains layers of actions, functions, materials, and time, trapped in an endless loop of densities. Binary definitions of time such as past-present-future are denied, and new relationships of multiplicity are presented in their place, influencing the fluidity and meaning of the space. Viewers are invited to participate in altering the space, and witness a new world of interior design where instead of idealizing or hiding mundane lifestyle, it becomes an integral part of it.