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