And here is a random and condensed selection of various other works completed in recent years:
Lucas, 2018.Taco, 2022.Mountain, 2016.Estantería Atico, 2019.Peana Ricard, 2021.Mesarraca, 2019.Mesas Atico, 2019.Bendita Mesa, 2015.Sofa Port, 2018.Mesa Forat, 2018.Mari, 2022.Mesa Gala, 2019.Narrow shop, 2020.Save tables, 2018.Shelving System II, 2021.Leon, 2022.Window Panels, 2018.Mesa Elefante, 2018.Sabadell, 2019.Telmo, 2018.Colgador Bolas, 2023.Grada Groga, 2022.Frontón, 2017.Mesas de Choque, 2021.Mesa Camión, 2025.L Table, 2021.Otrolibro I de Otrascosas de Villar-Rosàs (2009-2012).Ari's, 2017.Firma Black, 2017.Shelving System I, 2019.Silla Arco, 2022.Trineu FCB, 2018.Inca, 2021.Muri, 2015.Bar en una botella, 2023.Shelving System IV Groc, 2022.Mesas Baraja, 2022.Ping Pong Ping, 2018.Pis O, 2017.Pepa, 2021.Six Pack, 2024.Shelving System IV, 2022.Superligera, 2022.Atico Kitchen, 2019.My Body Office, 2021.Mesón, 2014.Mana Mana Lima, 2022.Ibon Kitchen, 2018.Shelving System III, 2021.Mesa DAC, 2022.El Hombre de Sal, 2019.Marta, 2020.Botijo Baldosa, 2024.AOO bag, 2015.Biografia Antoni Arola, 2015.Coeurs, 2020.Valsells, 2022.Jabalí, 2016.Ikea Vitra Vitra Ikea, 2021.Aloha Freewall workshop, 2022.Carabí, 2022.Rosca (Light attempt), 2016.Bluejey, 2015.Yellow, 2017.Red & Green, 2022.Mesa Port, 2018.Gordito, 2021.Boisbuchet workshop, 2023.Pre 8, 2018.Bonay Hello, 2015.Martín, 2020.Red Balls, 2021.Armario Alba, 2018.Cama Martín, 2020.Blau, 2022.Brown, 2021.Pieza 1 HP, 2005.Mel Gibson, 2015.Green Kitchen, 2019.Ari, 2021.HTH, 2020.
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.