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