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