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