And here is a random and condensed selection of various other works completed in recent years:
Carabí, 2022.Red Balls, 2021.Muri, 2015.Trineu FCB, 2018.Save tables, 2018.Ibon Kitchen, 2018.Green Kitchen, 2019.Pieza 1 HP, 2005.Brown, 2021.Pre 8, 2018.AOO bag, 2015.Superligera, 2022.Mana Mana Lima, 2022.Ping Pong Ping, 2018.Botijo Baldosa, 2024.Bendita Mesa, 2015.Jabalí, 2016.Marta, 2020.Blau, 2022.Telmo, 2018.Mesón, 2014.Window Panels, 2018.Lucas, 2018.Mel Gibson, 2015.Martín, 2020.Inca, 2021.Mesa Forat, 2018.Shelving System I, 2019.Pepa, 2021.Red & Green, 2022.Aloha Freewall workshop, 2022.Sofa Port, 2018.Mesa Elefante, 2018.Estantería Atico, 2019.Mountain, 2016.Shelving System IV Groc, 2022.Boisbuchet workshop, 2023.Silla Arco, 2022.Colgador Bolas, 2023.My Body Office, 2021.Mesa Port, 2018.Gordito, 2021.Mesarraca, 2019.Cama Martín, 2020.Otrolibro I de Otrascosas de Villar-Rosàs (2009-2012).Mesas Baraja, 2022.El Hombre de Sal, 2019.Mesa DAC, 2022.Taco, 2022.Peana Ricard, 2021.Firma Black, 2017.Mesas de Choque, 2021.Rosca (Light attempt), 2016.Biografia Antoni Arola, 2015.Shelving System III, 2021.HTH, 2020.Armario Alba, 2018.Bar en una botella, 2023.Pis O, 2017.Mesa Gala, 2019.Grada Groga, 2022.Atico Kitchen, 2019.Ari, 2021.Narrow shop, 2020.Sabadell, 2019.Valsells, 2022.Bonay Hello, 2015.Coeurs, 2020.L Table, 2021.Mari, 2022.Ikea Vitra Vitra Ikea, 2021.Bluejey, 2015.Mesas Atico, 2019.Leon, 2022.Yellow, 2017.Ari's, 2017.Frontón, 2017.Shelving System II, 2021.Shelving System IV, 2022.Six Pack, 2024.Mesa Camión, 2025.
About
I am a furniture designer, born in 1983 on the island of Mallorca and based in Barcelona. I work on commissioned, industrial and custom furniture projects, whether for individuals, brands, companies, or for my own practice. I’m particularly interested in the relationship between design and development, and much of my practice is grounded in that dialogue.
My work is grounded in simplicity, honesty and clear construction. I’m interested in archetypes and direct solutions: a chair as a chair, a table as a table. I try to remove everything that doesn’t add structural or material sense, focusing on structure, material logic, synthesis and the mechanics behind each object.
The result is often straightforward, sometimes rough pieces, where construction is visible and materials are used as they are. Screws are not hidden, joints are not disguised. Austerity here is not a style or a concept, but a working position, often taken to a radical level. I see design as a practical craft, closer to making than to explaining. In the end, it’s about making clear decisions and standing by them.