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