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