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