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