IKEA research has been producing a highly extended body of knowledge featuring many different approaches (affirmative and critical alike) to unlock the ways IKEA operates as an enterprise, thrives as a business, manages its processes as a producer, negotiates its suppliers as a client, shows up on the stage of intercultural communication, and promotes itself in the arena of international diplomacy as a prime representative of Swedishness. This paper touches upon aspects of the IKEA phenomenon that are less often discussed. These are the aesthetic effects and affects associated with it, approached from the perspective of the one who experiences them. When questions of aesthetics arise about IKEA, they are usually delivered from a different angle: that of marketing studies, from the producer’s perspective. Understanding the original intentions can be critical when aesthetic phenomena are to be analyzed. However, treating the IKEA audience as no more than passive consumers who blindly play their roles in a production-consumption chain misses essential parts of the story. It is as if, in interpreting a literary work, one would keep only the authorial intentions in mind and leave out what is brought about by the reader. However, unlike a poem reader who anchors concentrated attention in a work of art, the audience of IKEA exerts such a receptive aesthetic attitude that can rightly be claimed as everyday. It works as an experience that stays beneath the radar of a self-conscious interpretation despite its direct consequences in the lives of many, and it modulates visions and dreams of homeyness, rational dwelling, and valuable spaces, even for those who are only indirectly attached.