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