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