A group of people gather in meetings that last until dawn, meetings in which there is no shortage of tobacco or wit. Repression did not manage to stop joy. It is obvious that the mere fact of being able to get together, laugh and talk, no matter how small the space, was an act of freedom. An act of freedom, of vindication and rebellion.
Emerging from one of those furtive encounters, from the ashes of what could have been and was not, the publishing house Llibres de Sinera tried to give voice to those whose language had been taken away, mixing dust and water to knead the eternal mud of a new immortal culture.
“The action is set on a day in the second half of the sixties, perhaps in the early seventies. A city, Barcelona. An apartment in the Eixample neighborhood. The living room. And in it, there is conversation, analysis, debate. No tea, no coffee, but smoke. They have taken risks. They take risks. In the middle of the scene, the ashtray Copenhagen (1966), by André Ricard, is the silent observer of History. Geometry of the cylinder.
Espriu, Capmany, Pla-Narbona, Salvat, Cid… Circumspect, daring and at the same time prudent, they weave the threads of a battered culture, they intend to challenge censorship, they fight with their weapons: words. Stemming from their publishing venture, Llibres de Sinera, launched in 1967 in the midst of Franco’s dictatorship, the following works would see the light a few years later: Mister Evasió, by Blai Bonet, La revolución cultural en Cuba, by Alberto Moravia, Crítica i veritat, by Roland Barthes, or Tots els contes 1936-1967, by Pere Calders, among others. A short, yet intense adventure. They are part of history.
Since 1966 the Copenhagen ashtray, featuring a minimal and unadorned design, has united function and contemplation, beauty in the useful, in the everyday. It has been a silent witness of the life of a country and it is part of its cultural heritage, just like Llibres de Sinera”.
Kollar François (1904-1979). Charenton-le-Pont, Médiathèque de l’Architecture et du Patrimoine.
Susan Sontag said that “all photographs are memento mori“. In a way, the mere fact of capturing a moment in an eternal image reminds us of the transience of human life. However, we like to think that photographs also have the opposite function, as they immortalize the human condition in the face of time passing by.
In a way, photography is a powerful tool against oblivion. When François Kollar took this photograph of the Pavilion of the Spanish Republic at the 1937 Paris International Exposition, he was doing his bit to preserve memory; the memory of a specific historical moment, the memory of a whole generation of intellectuals and artists who were eradicated because of their progressive and universal ideas, the memory of a country that after suffering the atrocities of the Spanish Civil War endured the resulting oppression for many years.
But in a corner of this photo, on a table we notice a “porrón” that can be seen in the left margin of the photograph. This is a popular, useful and hygienic object that allows one to drink water or wine without using glasses. An object of unknown origin that has been used in Spain for many years. It has been made by craftsmen for centuries who confirm that a good design is one that is useful, that serves people efficiently and that offers excellence with minimum resources.
Archive of the Museum of Rural Life // Luis Buñuel making Salvador Dalí drink from a “porrón”, in 1929. GALA-SALVADOR DALÍ FOUNDATION // Postcard of a girl drinking from a “porrón”. Popular Culture Documentation Centre. Joan Amades Collection.
Whoever designed the Pavilion knew how to recognize quality in design, architecture and art, and that is why we wanted to highlight such a tool from this photograph: a good design! Leaving the “porrón” aside, this photograph features: Josep Lluís Sert and Luis Lacasa, the architects in charge of designing the Pavilion. Torres Clavé, the armchair designer. Calder, the author of the mercury fountain. Picasso, the painter of Guernica.
Pavilion of the Republic for the 1937 Paris International Exhibition. Author unknown. Historical archive of COAC. Mercury fountain by Alexander Calder with the painting Guernica in the background, 1937 Médiathèque d’Architecture et du Patrimoine, Paris. Photo: Henry Baranguer (C) Calder Foundation New York / ADAGP, Paris (C) Succession Picasso – Gestion droits d’auteur (C) Ministère de la Culture – Médiathèque du Patrimoine, Dist. RMN-Grand Palais
A table, a farmhouse and a painting. Tarragona, Sant Joan Despí and Figueres. Modernism and surrealism hand in hand embody the avant-garde essence of Catalonia at the beginning of the century that converged in an intense, bohemian and combative Barcelona during the inter-war period.
Catalonia is a fascinating place for many reasons, but it doubtlessly stands out for its rich social and cultural history, for the artistic movements that had an impact on the architecture and design of its cities, salons and buildings, and for being a necessary melting pot for the rise of modernism and the avant-garde.
By beholding this composition of the Jujol table, it is inevitable for the echo of history to reverberate strongly. What could this stylized side table, designed by Josep Maria Jujol in 1920, have in common with the Can Negre farmhouse, which he himself renovated in 1930, and with Salvador Dalí’s painting The Temptations of St. Anthony?
The scope of the comparison is unclassifiable; in many respects, Jujol actively participated in certain avant-garde movements, as the design of Can Negre reflects. Its undulating forms, religious symbols and surprising colors hint at a rich inner world of the architect and a dreamlike vision of reality, close to the surrealist movement that permeates all of Dalí’s work, but particularly to this wonderful painting he painted in 1946 and now housed in the Royal Museum of Fine Arts in Brussels.
If one looks closely, the legs of the elephants support a carriage reminding of a Parisian basilica, just as the legs of the Jujol table support its structure in the composition of our photograph, which in turn we transfer to the façade of Can Negre and its columns, which display a concomitance with Dalí’s world that irrevocably evokes the essence of our history.
Photos: Can Negre by Joan Palau, Mesa Jujol by Meritxell Arjalaguer.
“L’home dels nassos is a traditional mythological character from Catalonia (also from Valencia and the Balearic Islands) who has as many noses as days in the year – or as many days are left. Children are told that he can only be seen on December 31, when, as is the case for us all, he has only one nose left.
This possible portrait of l’home dels nassos, allows us to share this kind of traditions so that they live on and thus vindicate our popular culture.”
A. R.
2023 is quickly coming closer and we are ready for a year that promises to be special for Mobles 114: the year in which we turn 50 years old. We say goodbye to 2022 with a message of congratulations on behalf of the team at Studio Albert Romagosa, a small graphic design office whose work stands out because of the precision and serenity of their projects.
Studio Albert Romagosa’s methodology is based on a deep analysis both of the task and its context which allows them to offer designs with attention to detail and with very diverse formal resolutions which are tailored to each case.
Some outstanding editorial design projects include “Cross Cultural Chairs”, published by Onomatopee; the redesign of HIC‘s identity and website, a reference blog on architecture; or the graphics for the exhibition “Cine y Moda por Jean Paul Gaultier” for CaixaForum.
This plural approach to design has led them to work for both local and international clients and entities and to be awarded in numerous editions of the Laus awards. In addition, some of their graphic production is catalogued and preserved in the archives of the Design Museum of Barcelona and the National Art Library of the Victoria & Albert Museum in London.
On November 30, the Museu del Disseny de Barcelona was given Mobles 114’s archive as a commemoration of the 50th anniversary of the company, which is due in 2023. This donation adds to the already existing collection of the museum and also includes material from the beginnings of Josep Maria Massana and Josep Maria Tremoleda, founders of Mobles 114 alongside with Mariano Ferrer in 1973.
The archive includes photographs, commercial catalogs and even material bearing witness of the company’s graphic evolution, which is the work of graphic designer and photographer América Sánchez. Also on display is the work process behind the edition of some of the designs produced by Mobles 114 in the form of sketches, plans or prototypes.
The donation also includes a number of products from Mobles 114’s catalog, including furniture, lighting and accessories which have been designed since its foundation in 1973 by national and international designers, such as Enzo Mari, Jorge Pensi, Santiago Roqueta, Gabriel Mora, Carles Riart, André Ricard, Álvaro Siza and others.
Among the pieces that belong to this donation are iconic and current designs in the publisher’s catalog, such as the Torres Clavé armchair designed in 1934 by the architect Josep Torres Clavé, the Ona coat rack by Montse Padrós and Carles Riart, the Nuta stool by Lluís Pau, or the TRIA shelving system designed in 1978 by J. M. Massana and J. M. Tremoleda.
This heritage, which is added to the already existing collection that forms the makes up the permanent collection of the Museu del Disseny de Barcelona, will complete the various periods of Mobles 114’s career and contribute to the history of design in Barcelona.
Mobles 114 takes part in the exhibition “Scenes from the Near Future”, curated by design journalist Tachy Mora and with a project authored along with designers Júlia Esqué, Marc Morro and Jaume Ramírez.
From November 23rd to March the 19th, at the CCCC Centre del Carme, it will be possible to visit the exhibition, which is organized by the WDC (World Design Capital) in collaboration with the Consorci de Museus de la Comunitat Valenciana, in which several designers, architects and manufacturers present solutions to address issues related to the paradigm shift of current domestic design.
Besides the decrease in the average size of houses or the need for homes to fulfill new requirements such as home offices, design needs to take into account the incorporation of new, more dynamic lifestyles, such as digital nomads or new family structures, which force homes to adapt in a quick, simple and accessible way.
“Scenes from the Near Future” explores these changes and invites participants to design solutions around five concepts: flexibility, multifunctionality, nomadism, modularity and sustainability.
“We have designed a piece of furniture for sleeping, working and eating. It is composed of a thin canvas stretched over the PEY table system by Mobles114, which we have slightly hacked. It is easily disassembled and transportable, and as suggested by its name the whole thing is superlight”.
Dimensions: Long 200 cm Wide 80 cm Height 90 cm
The exhibition can be visited until March 19, 2023 in the Carlos Pérez hall of the CCCC Centre del Carme, which belongs to the official program of World Design Capital València 2022.
Barcelona-based Basque illustrator Luis Mazón has been in charge of bringing color to some of Mobles 114’s most iconic designs. The illustrations, which can be found on our home page, pick up the baton of the graphic work produced by this artist, who is renowned for his GIFs and digital brushstrokes.
Inspired by everyday moments, Luis Mazón’s illustrations feature vibrant color schemes and pop culture references that come to life by means of small circular movements. Heavily influenced by the graffiti technique, Mazón studied graphic design, later moving on to illustration and specializing in motion graphics. This background has led him to work for international clients such as New York Times Magazine, The New Yorker, Zeit Magazine, Airbnb or Odiseo, among others.
Amanda Gorman illustration for Zeit Magazin.
In spite of the digital presence of his celebrated GIFs, Mazón does not restrict himself to a single medium. His working procedure begins with the creation of a photographic collage as a reference, which he then digitizes to try out different compositions and colors. Once he has reached a satisfactory result, he draws it by hand using different techniques (such as watercolors, markers or oil pastels), then scans it, corrects colors or details and finally animates it. A whole transformation through which the illustrator experiments with different processes that bring texture and energy to his work.
The collaboration between Luis Mazón and Mobles 114 features several compositions of tables, seats, accessories and various configurations of the TRIA system made in his characteristic ‘crayon style’ line which are available in the color palette of the brand’s catalog.
On 2022 we are celebrating the 80th anniversary of the Catalana armchair, an iconic design by Germán Rodríguez Arias, reissued since 2017 by Mobles 114 within the Classics collection.
The Catalana armchair is the result of the emotional friendship forged between the writer Pablo Neruda and the Catalan architect Germán Rodríguez Arias, during the years the latter spent in Chile. Rodríguez Arias a founding member of the group of architects and technicians who founded the GATCPAC.
Amidst an atmosphere of exile and change and after collaborating with several Chilean architects and signing projects under their names, Rodríguez Arias focused his activity on interior and furniture design. One of his most outstanding projects during this period was the interior design of the Café Miraflores, a meeting point for Spanish intellectuals in Santiago de Chile. After such a successful project, Rodríguez Arias founded the company Muebles Sur along with Cristián Aguadé and Claudi Tarragó, which would become one of the most important furniture factories in Chile.
Imagen: Diaz Wichmann
The relationship with Pablo Neruda was born at this time, as he used to frequent the Café Miraflores. The Mediterranean style of the place won over the poet and not only did he commission Rodriguez Arias to intervene in three of his houses in his native country, but he also asked him for original pieces of furniture to accompany their spaces. Specifically, the Catalana armchair could be found in the house that Pablo Neruda had in Isla Negra, which was also enlarged by Rodríguez Arias.
The Catalana was conceived as an armchair with a very personal structure and a strong link to local tradition. Its curious six-legged design is inspired by the chairs made of turned pine wood and bulrush which are typically Mediterranean.
Plan and elevation of the chair designed by Germán Rodriguez Arias for Muebles Sur, in pine and totora wood, with the seat made of boga, in the Catalan style. Image: Museu del Disseny.
This unique seat rests on four main legs and two rear legs featuring two small buttresses that provide greater stability and allow the inclination of its high backrest.
This is a chair that has been present in the Mediterranean imaginary since the time of its creation and has been part of the homes of figures such as Salvador Dalí, who had them for his enjoyment and that of his guests in his house in Cadaqués.
Image: Joan Vehí
Catalana is a piece of furniture with great emotive power and native flavor, far removed from the more purely conservative and rationalist style of the time; a seat with welcoming forms and a strong organic sense that projects a serene yet totally current image, even 80 years after its design.
Image: Meritxell Arjalaguer
Mobles 114’s Classics collection advocates bringing back emblematic pieces of furniture by attending to their properties and formal characteristics, and always respecting the original design as much as possible in its reissues.
With the Classics series we also try to pay a well-deserved tribute to all those designers whose works have contributed to improve the quality of life of our society with their creations and that have come to be considered cult pieces and are part of exhibitions and museums.
Summer holidays are getting closer, and like every year in July, Mobles 114 invites an artist, designer or photographer to make a greeting card. In order to take a break from a year full of challenges, we thought of designer and activist Curro Claret to make this summer’s postcard.
For the Barcelona-born industrial designer, design is a tool to promote a more equalitarian, diverse and inclusive society. After studying industrial design in Elisava Superior School of Design in Barcelona, Central Saint Martins in London, and working for some years in several activities related to design, Curro decided to rethink his professional career and engage in new ways of understanding design to change society.
During this time, Curro Claret’s projects have reassessed materials, processes and technologies in response to the social, economic and environmental barriers around us. Good examples of that are Pieza T300, a metal piece that allows to transform found materials into functional furniture pieces such as a stool, a bench or and a table, or the design of the Camper Stores, in collaboration with some foundations dedicated to the attention of homeless people.
Always relying on creativity with a humble and sustainable approach, the works of Curro Claret demystify the cliché of an elitist designer by favoring the most vulnerable collectives and going back to the idea of design as a tool to improve people’s lives.
Curro currently combines his work as a designer with teaching, an activity in which, along with new generations of designers, he reflects about how their work can be a solution to reduce waste, improve durability and develop the best environment for objects in the future.
On June 7 the Milan Design Week was launched with a series of events spread throughout the city. In addition to their stand at the fair, Mobles 114 also participated in Fuorisalone by being part of the project “Inspired in Barcelona: A gathering place”, an exhibition promoted by the Barcelona Centre de Disseny (BCD).
The Inspired in Barcelona platform aims to showcase creative and design ideas born in Barcelona and give them an international visibility by gathering a range of brands and industry professionals along with other emerging projects with the aim of expanding the potential of local industries centered around design. On this occasion, the proposal “Inspired in Barcelona: A gathering place” was represented by more than 100 designs from 39 companies and more than 60 creators, and inspired by culture that exists in Barcelona around bars and their cooking tradition.
The exhibition, which was organized in two main areas focusing on the contract sector for bars and on food design, had the participation of Mobles 114 in the space dedicated to interior and product design. One could find there the Tube table and chairs designed by Eugeni Quitllet, the Gimlet swivel stool by Jorge Pensi and the Nuta stool, a design by Lluís Pau which is perfect for the hospitality Industry. All of them were exhibited along the lines of a narrative articulated around eight concepts related to the personality of spaces and furniture.
The conceptualization of this exhibition was in charge of Martín Azúa, designer, artist and curator of this project. With this proposal, Azúa sought to convey the essence of the culture of Catalan bars by creating a smooth dialogue between different design branches.
From 7-12 June, Mobles 114 took part in the 60th edition of the Salone del Mobile in Milan.
Designed by the architect Stefano Colli, the white color of the stand clashed against a floor made of traditional mud brick reminiscent of the Mediterranean style that evoked our roots. This setting also featured two ‘Junco’ wall lamps, an original design of J.A. Coderch, thanks to the contribution of the editor Tunds.
From the selected products that were presented, these were the newest additions: the Gràcia Swivel chair, the new Nuta Colors stool collection, the Danish armchair in its most domestic and comfortable version, and the latest accessories that further expand the configuration options of the TRIA Shelving System.
The TRIA shelving system is one of our most iconic products, offering countless customization options according to the requirements of the space and its users. The latest additions to this system include four new accessories that match its timeless style and highly functional character: a showcase cabinet, a led lighting system, a 90×120 cm table with a leg, and additional back panels.
This year, we also introduced the project “Touchstone” at the fair in Milan; a collaboration between Mobles 114 and The Glass Apprentice inspired by the new TRIA showcase wardrobe. This collection was conceived with the aim to establish a relationship between the glass doors and the vases made by this blown glass artist using the same material.
Both Salone del Mobile 2022 and Fuorisalone 2022 have offered an extensive program of events, installations and launchings focused on creativity and innovation. Within the framework of Fuorisalone, Mobles 114 has also participated alongside other national brands and publishers in the installation “Inspired in Barcelona: A Gathering Place”, promoted by Barcelona Design Center (BCD) and curated by the designer Martín Azúa.
Next Wednesday June 22, in the context of the Barcelona Design Week, Mobles 114 opens the doors of its showroom to introduce “Touchstone”, a collaboration with blown glass designer Pròsper Riba Vilardell, founder of the project ‘The Glass Apprentice’.
This is the third occasion in which Mobles 114 invites a designer to explore the artisanal component from the field of object design based on the Tria shelf. This year, the publisher has chosen to collaborate with ‘The Glass Apprentice’ for the creation of “Touchstone”, a collection of glass pieces to welcome Tria’s new features.
One of the developments presented by Mobles 114 this year at the Milan Fair was the display cabinet with transparent sliding doors, which joins the family of available options for TRIA Shelving System. “Touchstone”, by The Glass Apprentice, was born out of the aim of finding a relationship between the display cabinet’s glass doors and the glass vases. From the color palette available for TRIA Shelving System the designer has chosen orange and green.
For his process, Pròsper Riba Vilardell has focused on a proposal without mold and has included chance as a component in the execution process. Starting with a transparent bicolor ball to which the orange or green color is added, the piece is taken to the limit of elasticity during the firing process and is deformed by the effect of gravity itself.
This type of handcrafted production means that each piece is different and thus unique, which enhances the essence and value of handcrafted elements. The result is a collection of pieces that fuse the artisanal influences of glass with the timeless and functional character that are so characteristic of Mobles 114.
“Touchstone” will be on display in the Mobles 114 showroom as part of the events held during OFF Barcelona Design Week. We invite you to discover the collection on June 22nd in a relaxed environment while enjoying croquettes and beers.
We invite you to discover the surprising outcome of this collaboration!
On the occasion of the Milan Design Week, Mobles 114 heads one more year to the Italian city to present its latest products.
The 60th anniversary of the Salone del Mobile will take place from June 7 to 12 at the Fiera Milano Rho faigrounds. On this occasion Mobles 114 will exhibit the latest additions to the brand’s catalog. We invite you to visit us in Hall 10 D 05!
In addition, within the framework of FuoriSalone, Mobles 114 collaborates with other national brands and publishers in the installation “Inspired in Barcelona: A Gathering Place”, promoted by Barcelona Centre de Disseny (BCD) and curated by designerMartín Azúa.
At Avinguda Diagonal 420, right between the streets Roselló and Bruc, stands the imposing Casa de les Punxes, one of the most emblematic and unique monuments of Barcelona’s modernism. Recently adapted by Cloudworks as a coworking space, we went inside to find an elegant, eclectic and cozy café-restaurant ready to host any passerby looking for a dynamic and inclusive place to enjoy a delicious cup of coffee.
Located on the border between the dynamic and vibrant Gràcia neighborhood and the beautifully structured Eixample, Casa Terradas was built in 1905 as a medieval castle in an attempt to give the work of the modernist architect Puig i Cadafalch a Gothic touch. One could say that is exactly the most defining feature of Casa de les Punxes: the eternal dichotomy between new and old, contemporary and classic, basic and refined.
The Cloudworks project is divided into three well-defined spaces that allow a seamless combination of combine work and relaxation. The lobby, where pieces from Mobles114 have been incorporated, is located at street level and is open to the public; anyone is welcome to have a coffee or enjoy a tasty menu.
The modernist decoration, typical of the building’s origins, is a perfect match for the industrial inspiration of the resistant and adaptable Tube chair, designed by Eugeni Quitllet and featuring rounded lines, which takes us back to the Barcelona of the beginning of the century, as well as with the Nuta Colors stool, designed by Lluís Pau and displaying the rationalism and minimalism of the Bauhaus, whose timelessness and metalsmith finish reinforce the holistic vision in the lobby. On the other hand, the Forc coat rack, a piece by Lagranja Design, delights us with its friendly style and the clarity of its mild shapes. Carved in beech wood, practical and functional, its stylized hanger fits perfectly in the fusion between classic and contemporary.
The coworking area is located on the second floor just above the lobby in the space known as the office, which consists of 74 comfortable and pleasant workspaces. However, enjoying the most spectacular surroundings of this emblematic building requires going up a little further until the rooftop, where everything is seen from a different perspective under the protection of the famous six punxes (spikes) that account for its name. The Cloud is a space for relaxation and contemplation with five bright meeting rooms and a canteen area where one can eat and chat. The terrace furniture is composed entirely of the Tube collection. In addition to the chairs, Eugeni Quitllet surprises us with the Tube side table, perfect for both indoors and outdoors due to its aluminum construction. Sitting at the top of Casa de les Punxes and with Barcelona at your feet, Monday mornings are nothing but extremely pleasant.
From the first brushstroke to the publication of the finished illustration, Pol Montserrat works following an intentionally experimental process and with each order allows him to shape fluid images and familiar silhouettes using India ink or gouache. From his studio in Barcelona this artist, whose work has given life to several editions of Mobles 114 catalogs, illustrates ordinary scenes in a minimalist and beautiful fashion.
Drawing and painting being his vocation from an early age, Pol has found in illustration a channel with which to express emotions, situations and values through a unique language. After training as a graphic designer, in 2015 Pol decided to earn a living out of his hobby and focused his career on illustration working for brands and local projects. Three years later, in 2018 and on the occasion of the release of a new catalog, Pol Montserrat and Mobles 114 started a relationship that extends to the present day.
From that first collaboration, a link was born that resulted in a series of illustrations for the Classics catalog. In them, the Catalana armchair, the Jujol table, the Fil lamp or the Copenhagen ashtray are filled with color thanks to the fluid and conceptual strokes of the artist; diluted and close images that invite the viewer to feel an immediate connection.
Between abstract and figurative expression, these illustrations by Pol for Mobles 114 are the window to a lived and relaxed space, with a timeless and Mediterranean character where everything remains unchanged.
PEY Table System
The latest collaboration between Pol and Mobles 114 was an animation for the video opening of the PEY table collection. In it, Pol turns a neutral scene into a cozy home with his characteristic brushstrokes. The illustrator also intervenes in the video exemplifying some of the functionalities of the set of tables for workspaces or home offices.
Just a few quick strokes allow Pol Montserrat to bring us closer in a dreamlike way to the honesty and simplicity that Mobles 114 also seeks in all its designs.
More than just a restaurant serving delicious, traditional catalan food, the “Nou” Mas Vell is a place that exudes creativity and where things happen all the time. Serving also as a brewery, pub, coworking space and a place to host events, the people behind the project are positive that this is also a lifestyle. And not only do they brew their own beers here, but this practice also extends to ideas and creative energy.
Located in the Masnou area near Barcelona, in a former farmhouse from the 14th century overlooking the sea, this building was later integrated by modernist architect Bonaventura Bassegoda into the Casino complex during the very first years of the 20th century. The building was then restored, preserving its impressive doorway and some other iconic features in Gothic style that meld with a certain Mediterranean flair due to the proximity to the coastline.
The current project of architect Stefano Colli for “Nou” Mas Vell incorporates pieces by Mobles 114 in both the interior and the patio. The Tube chair and table designed by Eugeni Quitllet has a distinctive style, reminiscent of Barcelona’s industrial past, which works wonders in the outdoor dining area; while the metal of the Nuta stool and the Oxi bistrot table echoes the surfaces of the adjacent beer brewing tanks inside the restaurant. Colli has also incorporated the collection made up of the Gràcia Wood chairs and table in the coworking areas.
The graphic identity of this new Mas Vell was developed by Ingrid Picanyol Studioin parallel with Stefano Colli’s project; as a result, they compliment each other. These interventions were understood as a homage to the iconic legacy of El Mas Vell by respecting the original architectural setting, rescuing elements from the past and by adding some others that may have been present back in the days.
Mobles114 co-produces the documentary “André Ricard, el diseño invisible“, directed by filmmaker Poldo Pomés, with script by journalist Xavier Mas de Xaxàs. This 56-minute documentary depicts and goes over the life and work of one of the first Catalan product designers. A pioneer who has developed products from a humble standpoint to make our lives easier and more pleasant.
André Ricard (Barcelona, 1929) is considered, together with Miguel Milà, one of the founding fathers of Catalan design. From an early age he felt the need to analyze the form and function of objects around him. That early inclination led him to study at the Academy of Warnia Zaraszescka, a Polish artist from whom he acquired the teachings of Bauhaus, to visit the United Kingdom when the Festival of Britain was taking place, and to admire the work of Raymond Loewy.
Having design as his banner, Ricard worked to draw attention to and extol an occupation that was totally unknown in the Spain of the 50s. He also did so by drawing connections between national designers with their European and North American counterparts, as well as actively participating in the ADI-FAD (Association of Industrial Design) until it became the organization we know today.
Aesthetic beauty as a consequence of functionality
Since the beginning of his collaboration with the fragrance company Puig, where he used to design their perfume’s packaging, André Ricard has conceived some of the most recurrent designs of Spanish daily life, from the Norit detergent bottles to the Orion tongs, as well as the iconic Copenhaguen 1966 ashtrays or the Tong 1964, both reissued by Mobles114 and belonging to the “Classic Collection“.
By means of “André Ricard, el diseño invisible” and through his own words and those of people close to him such as clients, friends, former students or collaborators, we discover his way of working and conceiving design. Throughout this documentary, Ricard himself designs a container for serving and eating olives in which the pits remain hidden. “In every design problem you have to immediately put yourself in the user’s shoes,” Ricard recalls, making it clear that his vocation has been, is and always will be to make our lives easier and more beautiful.
In the Victoire area, in the heart of the world’s wine capital, you will find BodeGon, a modern bistro with a large terrace which is the stage of numerous urban scenes in a city where an eminently classic style converges, but where there is also a great sense of modernity and freshness.
Mobles114 has collaborated with Benayoun Architectes providing the outdoor furniture from the Tube series for this bar. Under the premise of contributing to the creation of a pleasant and relaxed space, especially designed to encourage social gatherings and create an informal atmosphere.
Located in the heart of Place de la Victoire, opposite the triumphal Porte d’Aquitaine, BodeGon stands out for its dynamic and lively appearance in an eminently urban area that is busy with pedestrians and packed with cyclists and students passing by.
What is surprising about the project is the incorporation of an eye-catching element that contrasts with the classical architecture and confronts it, which reminds us of the typically Parisian Haussmannian style.
The pieces belonging to the Tube series, designed by Eugeni Quitllet, are perfectly suited to the terrace of this emblematic bar thanks to their adaptability to different outdoor and even indoor environments. Moreover, they are a perfect solution for the hospitality industry. Thanks to the combination of aluminum and polypropylene that makes up the seat, the Tube series is light, resistant, stackable and easy to maintain.
The most characteristic feature of its design and where all the attention is focused is the continuous aluminum tube, which gives it great dynamism and visual appeal without detracting from its light appearance. The Tube table, which is mounted on three legs that enable a simple installation, keeps the series’ essential straight lines and brings a sense of continuity to the project.
The duo consisting of the interior designer Isern Serra and the artist Valeria Vasi has entrusted Mobles 114 with the creation of their home in Barcelona, a serene space where minimalism and Mediterranean character dominate.
Located in an old office building from the 1950s in Barcelona’s Clot neighborhood, the 120 m2 home of this creative couple is also Valeria Vasi‘s studio. A relaxed and casual atmosphere pervades all its rooms, as it has been conceived as an open space bathed in light where you can live, create and enjoy in good company.
The couple knew they wanted to create an open space that would facilitate communication and favor the social dimension. That is why they decided to opt for large spaces where the kitchen, dining room and living room merge into a single space that is oriented towards the large windows, receiving full sunlight at noon.
With clear lines and abundant natural light, the kitchen consists of a large central island covered with an ash wood countertop where the sink and hobs are placed, including the extractor fan that is integrated into the induction cooker. The absence of an extraction hood promotes a smooth transition between kitchen, dining room and living room.
Such an island acquires great prominence and is a key space when it comes to articulating the kitchen and dining room. The versatile Nuta stool by Mobles114 fits in perfectly with this setting thanks to its simple and functional lines. This design by Lluís Pau stands out for its light and balanced shape, which makes it particularly suitable for the hotel and catering industry in outdoor and indoor spaces, as it integrates optimally with styles ranging from classic to contemporary thanks to its formal sobriety. Nuta’s elegant yet functional character has earned it several design awards, such as the Delta ADI-FAD 1990 Delta Award Selection.
In addition, Nuta is a lightweight, stable and durable design which is available in various heights, finishes and colors, making it even easier to adapt to the use and characteristics of any environment.
In Isern Serra and Valeria Vasi’s home, the Nuta stool by Lluís Pau for Mobles114 fits exceptionally well into a warm, minimalist space which includes personal elements, such as works by the artist herself, paintings by her grandmother and objects acquired by the couple on several trips they have taken together.
As its very name reveals, the Danesa armchair by Mobles 114 is a most welcoming piece; inspired by the elegance and simplicity of typically Scandinavian design.
Created by industrial designers JM Massana and JM Tremoleda, Danesa is a highly comfortable seat, with pure but generous lines, inviting to be enjoyed while reading or having a relaxed chat.
Made with resistant and high quality materials, this is an infallible piece that adapts to any environment, both in public spaces (hotels, restaurants, showrooms…) and in the domestic environment or more intimate areas.
An improved design
Its design once again demonstrates the classic precept that function is what determines form, since Danesa has a backrest with two clearly differentiated parts and a cushion on the backrest for extra comfort that can be adjusted by means of a clever magnet system, allowing the height to be modified for better adaptation. This detail ensures both the wide backrest and the cushion’s adaptability to any sitting position and thus offer greater comfort even over long periods of time.
Its structure consists of solid varnished oak wood, a noble and warm material that perfectly matches the textile upholstery of the Danish brand Gabriel, available in a wide range of rich, warm and neutral tones.
The Danesa armchair is a highly versatile piece of timeless and elegant design with clear reminiscences of the modern Nordic style that fits easily in contemporary environments; it brings a warm and elegant note while inviting you to enjoy its great comfort thanks to its backrest system.
It’s a wrap! As this intense year comes to an end, we are already anticipating a 2022 with this dreamy abstraction especially created by Júlia Esqué for Mobles114.
The work of the Barcelona-based designer is everything but easy to define; always suggestive and enticing. In her practice, she constantly demonstrates how fond she is of all materials and solutions available for her to explore.
Always moving between the conceptual realm and the functional aspect of design, her work delves into a wide range of research fields, from ergonomics to textures, as it is proven by the some furniture designs.
From her Barcelona studio, the designer is keen on the relationship between objects and their ultimate users: us, people. Furthermore, she has been devoted to color studies and pattern experimentation for her most recent works.
It is just that, that ability to flow; to be open to any kind of new exciting projects that the future may bring that makes us so optimistic about this coming year.
From Mobles114, we would like to wish you a happy New Year.
Sert’s architectural rationalism, the emotional paintings of Miró and Picasso and the warmth of Torres Clavé’s furniture served as a means of political propaganda and laid the foundations of a modern movement that achieved recognition in exile.
The World’s fair in Paris lasted only a short time: it opened on May 25th, 1937 and closed on November 25th of the same year. Inside that diaphanous space, a sculptural calmness was experienced for a second in the face of the imminent chaos that lurked in Europe.
The 1937 pavilion
In autumn 1936, in the midst of the outbreak of the Spanish Civil War, the government of the Second Republic considered its participation in the Paris World’s Fair to be indispensable due to the enormous propaganda potential of the event and in order to turn Spain into a reference in terms of art, architecture and design.
On February 27th 1937, in Trocadéro Square, at the foot of the Eiffel Tower, the first stone was laid of what would become an architectural icon and a symbol of the Spanish modern movement: The Pavilion of the Republic, a piece by Josep Lluís Sert and Luis Lacasa. The pavilion, curated by the philosopher José Gaos, had two signatories: on the one hand Josep Lluís Sert, a prominent disciple of Le Corbusier and founder of GATCPAC (Group of Catalan Architects and Technicians for the Progress of Contemporary Architecture), and on the other Luis Lacasa, a member of the Communist Party and promoter of the Alliance of Antifascist Intellectuals for the Defense of Culture.
While Lacasa was close to regionalist architecture, Sert tended towards rationalism. Due to the short deadlines for the construction of the pavilion, Lacasa’s idea, based on brick construction, was discarded to make way for Sert’s proposal, which was based on a “dry” construction using prefabricated modules. In addition, as if the time and investment constraints were not enough, the construction plan had to be adapted to an irregular sloping terrain and had to respect the existing trees.
The 1,400-square-meter building, conceived by its architects as an empty container, became a symbol of innovation and talent, hosting the work of Spain’s most prominent artists and intellectuals. The writers Max Aub and José Bergamín, the poster designer and photomontage artist Josep Renau, the filmmaker Luis Buñuel, the sculptors Alberto Sánchez and Julio González, the painters Hernando Viñes, Joan Miró and Pablo Picasso and the architect Josep Torres Clavé, with a sample of his refined furniture, gave a shape, images and words to what was happening in Spain.
Although from the very beginning the event’s organizers asked Picasso for his collaboration, thus guaranteeing its success and public repercussion, he ended up being the one who delayed the inauguration. Guernica, later considered the great icon of 20th century Spanish painting, had a key place in the pavilion. Located on one of the walls of the courtyard, on the open floor, Sert and Lacasa had arranged the columns supporting the building in such a way that none of them prevented the painting from being seen in its entirety.
In the central part of the courtyard was also the Mercury Fountain, a work by Alexandre Calder, the only foreign artist participating in the pavilion. In the same area, covered with a canvas that served as an auditorium, were several wooden armchairs with rope backs designed in 1934 by Josep Torres Clavé which we currently produce at Mobles114.
The current building
On the occasion of the 1992 Olympic Games, the City Council of Barcelona commissioned architects Antoni Ubach, Miquel Espinet and Juan Miguel Hernández León to build a replica of the pavilion. This construction, which respects the original project, is located in Barcelona’s Vall d’Hebron district and is currently home to the CRAI, one of the world’s most important archive-libraries on the Second Republic, the Civil War, exile, Franco’s regime and the Spanish transition.
The Torres Clavé Armchair
As a small tribute to the legacy of the architect and designer Josep Torres Clavé and to this design that has been with us for years and is part of our Classics catalog, photographer Jara Varela captures in this collection the beauty of the armchair inspired by the popular Ibizan “cadirats” in different corners of the pavilion, as it must have been seen by visitors in 1937.
Torres Clavé, co-founder with Antoni Bonet of MIDVA (Furniture and decoration for the current home), mastered the search for comfort, which becomes evident in this design combining devotion to craftsmanship with a rational exercise in ergonomics and proportions.
After three decades of history and great commercial success in the textile industry, the Catalan brand is still committed to social issues. More than thirty people with functional diversity work on handlooms producing unique pieces in an environment that exudes care and affection for quality craftsmanship. Some other elements have been added to this social initiative as well: add design, natural raw materials and sustainability.
Previously renovated by the architectural cooperative arqbag, this modernist building designed in 1916 stands out once again for the work of architect and interior designer Stefano Colli and Mobles 114 in equipping the offices and multipurpose spaces.
Colli believes that design and architecture can “transform and improve small things, spaces, places, people and their habits”. Such a statement finds a perfect confirmation in Teixidors’s premises in Terrassa, where its diaphanous spaces gladly welcome the functional designs of Mobles 114.
According to Colli, interior design is also another way of communicating, which is evident in his selection of furniture for Teixidors’s interiors. Our Tube chairs, with their industrial spirit and relaxed lines, fit perfectly into any environment thanks to their versatility. With a solid body of pure lines, the Pey table is the protagonist of the office spaces, whose walls are covered by our functional Tria shelving system. Our Green Eco chair, produced with 100% recycled and 100% recyclable material from industrial waste, can also be found in the work environment. The polygonal geometry and the high relief engraving on the seat give it an absolutely original look, while its sustainable character resonates with the values of the firm Teixidors.
The workshop also highlights Luco stool’s modern forms and traditional spirit. We can find pieces of functional furniture in every corner, such as the Hulot coat stand or the Riga bin, which blend perfectly. The sculptural shapes of the Om Textil chair and the Oxi Bistrot table bring balance and a touch of color to a space where wood shades prevail and whose protagonist is the light entering through large windows.
The new interior design of Teixidors boasts creativity thanks to the original furniture of Mobles 114, which gives its own identity to an industrial space where the attention and taste for details contribute to create a warm and pleasant atmosphere for its employees.
Tierra de arcillas is a project that was born to create ceramic pieces and objects right from the origin of the process.
A humble project that, precisely because of its simplicity, seeks a more honest way of understanding the world, more rooted in the territory. That is why it makes us a part of the process of research, the quest for materials and their transformation from the original soils of the Andarax river in Almería.
The result is a careful selection of different clays, textures and colors creating a unique collection that connects soil, table and food through ceramic.
Being aware of this project, at Mobles 114 we wanted to side with this philosophy and that’s why we asked Tierra de arcillas to design a vase to wish you all a good summer 2021.
By playing with the static immobility of a totem pole, the oscillating movement of a tumble and the percussion of a mortar, Martín Azúa designed this object “stabile/mobile” (word borrowed from Alexander Calder’s work): Tótem.
After working for many years with Azúa, Mobles 114 knew that this designer of Basque origin was the ideal person to design this piece. This renowned author has the astonishing ability to transform the materials he uses into unique objects through which shapes and nature penetrate the spaces that contain them.
Tótem was requested to be presented on one of the Tria shelves exhibited at the Salone del Mobile 2019 in Milan. This is a limited edition, made of American walnut tree.
This is not the first time that Azúa has designed a piece of this style. Throughout his career, the designer has created several versions of mortars and totems.
It would be interesting to investigate a little more about the obsession of the author for this type of sculptures and see why there is a continuous return to the work of this kind of objects.
Regarding the creation of Totem, Azúa has designed a collection made up of three different models that have both a decorative and a functional function: they serve as mortars to grind pigments, vegetables, seeds, and more.
This is not the first time Martín Azúa has worked for Mobles 114: in recent years, this Barcelona-based designer has worked several times for the brand’s catalogue, designing for example the Luco stool or the Rambla chair.
As a defender of craftsmanship, Azúa is keen to work with different materials, always respecting their characteristics and textures to highlight their origins.
Azúa preserves in his works the naturalness of materials, highlighting its properties, evolution and characteristics. Through his works, the author succeeds in introducing a part of nature into the urban environment in which most of us are immersed.
Azúa’s work is characterized by the incorporation of experimentation into the design process, often by inviting craftsmen or producers, and by demanding social reflection and respect for the craft culture in their works. Because, according to him, “craftsmanship is a quest for quality”, and this is reflected in all the author’s works.
The works of the Basque designer cover several categories: he has designed from different materials such as furniture, lighting, or objects that have a clearly identifiable identity. An own identity, which is reflected in his most functional designs, as well as in the designs of more abstract objects, full of poetry, and characterized with a refined sense of humor.
Since 2007 his project “Basic House” is part of the permanent collection of the MOMA in New York. In addition, he also exhibits several pieces of his collection at the Design Museum of Barcelona and in various public and private collections.
Martín Azúa has been recognized for his work by winning the City of Barcelona 2000 Award, the Delta de Plata 2007 Award, the FAD Architecture/Ephimeros 2008 Award, the Design Plus 2009 Award, the Interiorismo Plus 2009 Award, the AD Best Designer of the Year 2010 Award, the Delta de Plata 2011 Award / and the Best National Trajectory Award from the Interiores 2015 Magazine.
Ona is the one design by Carles Riart which is actually kept at Mobles 114 catalog. a lineal coat rack made out of wood whose design results from a formal juxtaposition of waves and a sloping plane. Continue reading →
The last big project by mobles114 has been very popular and because of that it has been published on some of the most important magazines and blogs about design and trends. This is the clipping in national and international media:
First design magazine in Spanish and published everyday at the internet focus on luminosity, openness and clarity of the space, where all the elements have an general distribution harmony.
Design, interiors, architecture and trends website published weekly allows the visitor to make a virtual trip to the building which originally was home of plastic producer Alchemika.
Spanish directory of furniture and lighting producers explains the collaboration between company and architects to get the desired atmosphere of the space.
The popular magazine about fashion, beauty, trends, news and trips chooses Caterina Albert library in a summary about libraries where mixture of architecture, design and technology is a success.
International guide about Art, Gastronomy, Hotels, Fashion and Beauty, Design and Nightlife explains industrial past and multifunctional use of the complex. (Fotografia: José Hevia)
