The best brands of Spanish design in ‘Scènes d’intérieur’

“Scènes d’Intérieur” will present the best Spanish design habitat brands in Paris on December 3 from 7 p.m. at the Spanish embassy (15, avenue George-V 75008 Paris)



Curated by IDEAT magazine, scenes of daily life will be recreated in such a privileged habitat environment like the Spanish Embassy in Paris. The companies Expormim, Sancal, Mabiliario Auxilar de Diseño, Abadia del Collado, Andreu World, Home Furnisinc, BD Barcelona, Inclass, Grupo Forma, Lladró, Bover, Ondarreta, Naturtex, Coordonne, and Mobles 114 will participate.

This exhibition organized by ICEX together with the Spanish Economic and Commercial Office in Paris promotes commercial relations between the participating companies and the architects, industry professionals, decorators, and interior designers of France.


Mobles 114 will have the opportunity to exhibit some of the most representative products in its catalogue, such as the Forc coat rack designed by Lagranjadesign, the Gràcia collection of chairs and tables designed by Massana–Tremoleda and the Torres Clavé 1934 armchair, which is part of the Classics collection by Mobles 114.

Participating companies will have the opportunity to hold B2B private meetings with design prescribers to strengthen their business relationships.


Design for Posidonia

Design, a useful and powerful resource to denounce and act in favor of a better Mediterranean. Design for Posidonia is a brave proposal from Here We Are Collective to raise funds to help GOB Mallorca protect the Posidonia meadows in the Balearic Islands.

GOB is an NGO founded in 1973 with the mission of improving and preserving the environmental conditions of the Balearic Islands to achieve an environment of ecological and social sustainability.


Here We Are has selected 12 pieces designed by different authors and has produced an exclusive and unique green-painted piece that pays tribute to the Posidonia ecosystem. Mobles 114 has participated with the Luco stool, designed by Martín Azúa, that will be auctioned in a charity event at the Il Giardinetto restaurant, in Barcelona. All funds raised will go entirely to GOB and will serve to raise awareness on the need to preserve the marine ecosystem of the Balearic Islands.



Adolfo Abejón, AOO, BD Barcelona, ​​Cristian Herrera, Javier Mariscal, Maria Pratts, Marset, Max Enrich, Nani Marquina, OWL, and Santa & Cole have also participated in this adventure.


Posidonia is an ecosystem of vital importance in the Balearic Islands, endangered by trawling practices, water sports and polluted waters. Considered one of the oldest plants on earth, it was declared a UNESCO World Heritage Site in 1999 in some of the existing meadows on the islands of Ibiza and Formentera.


Mobles 114 produces its furniture taking into account the environmental impact from the beginning. We are aware that the design phase is the most influential and, therefore, we think of a global vision that transcends the product to influence the production and distribution phases. Our furniture is manufactured in Barcelona and distributed worldwide taking these values ​​into account. That is why we are proud to participate in this project with Here We Are. Congratulations on the initiative and thanks for having us.

Donation of the Jujol 1920 table to the Barcelona Design Museum

Following the donation of the Jujol 1920 table to the Barcelona Design Museum, Mobles 114 organized a conference about the designer, Jujol. The conference was carried out by Josep Maria Jujol (the architect’s son), Juan José Lahuerta (Director of the Gaudí Chair), JM Massana and JM Tremoleda (founders and editors of Mobles 114).

Jujol designer from Mobles 114 on Vimeo.


Pilar Velez, director of the Barcelona Design Museum, highlighted the importance of reissuing products and adding them to the museum’s collection.

The Jujol 1920 table is a re-edition of probably the only existing copy of this table, displayed at the National Art Museum of Catalonia and recently reissued by Mobles 114.

Josep Maria Jujol talked about his father, an architect and a designer; a multitalented figure and a complete artist lacking the recognition he deserved. With the re-edition of this table, we want to contribute spreading the importance of his work.

Juan José Lahuerta framed JM Jujol in the historical period of the late 19th and early 20th centuries in which Jujol developed his work. A unique, risky, and often radical work, that melts in the different styles with which it coexists. Lahuerta also underlined Jujol’s collaboration in some of Antoni Gaud’s works, claiming a joint responsibility of the parts they designed together. An example of this is the reform they started in the Cathedral of Palma (Mallorca). Jujol and Gaudí, both with deep Catholic convictions, were expelled before they could finish the project due to the incomprehension of the canons, ecclesiastics who did not know how to appreciate a work too radical for their time.

JM Massana and JM Tremoleda, proponents of reissuing products and objects maintaining their contemporary essence, highlighted the modernity of the Jujol 1920 table and the reasons why they considered adding the table to the Classics Collection of Mobles 114.




Making of ADI-FAD 100 years of the Bauhaus

The ADI-FAD (FAD Association of Industrial Design), the Associació per a l’Estudi del Moble (Association for the Study of Furniture) and the Mies van der Rohe Foundation commemorate the centenary of the Bauhaus with a making-of where they analyze the relationship between the Bauhaus and Spanish referents.


The event was initiated with an introduction to the Bauhaus by Xema Vidal. Vidal briefly explained the « idea » of the Bauhaus. Vidal’s pedagogical knowledge made the postulates of modernity very understandable, noting that the most remarkable feature of the Bauhaus is « the idea. » A school with few years of existence that transcends throughout the years and which influence lasts to our days.


Tallers Ribas and the company ROLACO were the manufacturers that produced furniture under the influence and also with the license of the Bauhaus. Ricardo Ribas and Pedro Feduchi were the speakers who respectively took us on a historical journey of the business trajectories in the cities of Barcelona and Madrid. From the beginning, the two capitals pointed towards Europe’s modernity, and these two companies were crucial in the dissemination, production, and sale of the aesthetic values claimed by the contemporary architecture of the 30s.



Antoni Mañach and Nina Masó talked about the GATCPAC lamp, reissued by Santa & Cole.

Mañach, philosopher and a professor at the ESDI school, developed a modern version of the Bauhaus thought, mixing concepts about the theory of artistic revolutions and its apparently contradictory authors, generating intense chaos that highlighted the idea of the action of design based on raging thoughts and sensible production (the head and the feet). Nina Masó, Santa & Cole’s publisher, shed some light on the GATCPAC lamp re-editing process that Santa & Cole incorporated into its catalog in 1995. The reissuing process was inspired by an original lamp owned by Raimon Torres, son of Josep Torres Clavé; outstanding member of the GATCPAC.



Oriol Pibernat and Gabriel Moragas talked about the GATCPAC chair, reissued by Mobles 114 under the name of Cadira Torres Clavé 1934 (Torres Clavé 1934 Armchair).

Oriol Pibernat, historian and a professor at the Eina school, provided GATCPAC’s historical context and talked about how its members moved away from Bauhaus modernity trends and its designs with chromed steel tubes, adapting to their own geography: The Mediterranean. Pibernat defended the will of GATCPAC members to sign collective authorship of the furniture they designed. Both a stance and a political and social claim that they carried out as a collective in the fields of architecture and design. Gabriel Moragas set out the background and different versions of the GATCPAC chair and explained how they decided to reissue the armchair that was renamed after Torres Clavé when it was added to the Classic Collection by Mobles 114. It has been proved that although GATCPAC defended collective authorship of its designs, the armchair was designed by Josep Torres Clavé, inspired by Ibiza’s famous cadirals (armchairs).

Fotografía: Anna Mas

Casa Vicens

Casa Vicens is the first building designed by Antoni Gaudí after graduating in architecture in Barcelona in 1878. It was built between 1883 and 1888 in the Gracia district of Barcelona.

The house has a pronounced orientalist design, a style that Gaudi developed and perfected throughout his career. The Casa Vicens was commissioned by Manuel Vicens i Montaner, owner of a ceramic factory, and was to be the family’s summer residence.

Gaudí designed the interiors of the house together with craftsmen such as the sculptor Llorenç Matamala or the cabinetmaker Eudald Puntí. The iron fence is made from a palm leaf manufactured along with the blacksmith Juan Oñós.

In 2014 the house was sold to a private entity that carried out a complete renovation to turn Casa Vicens into a house to be visited by the public. It currently is part of the tourist route of modernism in Barcelona. The refurbishment was entrusted to the Martínez Lapeña – Elías Torres architectural studio, which was able to reconstruct missing architectural elements from old photographs, as well as eliminate features that were not in Gaudi’s original project.

Now a house-museum, Casa Vicens offers its visitors a cafeteria at the end of the garden that allows them to sit comfortably and admire one of the architectural wonders of the city of Barcelona.

This cafeteria is of contemporary design and its architects Martínez Lapeña and Elías Torres were inspired by the colours and shapes of the original house designed by Gaudí. The Nuta stools, designed by Luis Paz, are part of the furniture of this cafeteria.

Andreu Carulla x Mobles 114

Each summer, Mobles 114 entrusts to an artist, designer, photographer or illustrator to design the artwork of our summer greetings. In 2019, Andreu Carulla collaborated with us.

Carulla supports Mediterranean culture (including the noise of crickets, olive trees, pines by the sea or the smell of rosemary and lavender). A Mediterranean atmosphere made of water and sunshine, with children playing on the beach, that has strongly inspired Andreu in its work.

In everything that Carulla works there is a defense of the near, of the local that becomes universal. An attitude of respects towards nature, traditional craftsmanship, mixed with advanced technology. This proximity also connects with the ideas of primitiveness and intuitiveness.

Children’s games have a great influence on his work. One example is the Wild Ware Jurassic Cutlery inspired by the dinosaurs his child used to play with during lunchtime.

Or the Plat Facetat designed for the Celler de Can Roca that starts from a flat plate that you can transform with your hands to give it multiple shapes. A game, in short.

The projects of the designer all come from a spontaneous background: everything that surrounds him can be of influence. With his imagination, he always ends up transforming its creations into honest and beautiful objects.

Andreu Carulla founded his studio in Banyoles in 2006. His work is based on the recovery of traditional and industrial materials. He is committed to always promote the Mediterranean territory and culture. A contagious enthusiasm makes his projects spontaneous and well thought.

Two years ago, Andreu invited us to collaborate on a furnishing project for the Helsinki Design Week, designed together with Mikko Laakkonen for the residence of the Spanish Embassy in Helsinki. From this collaboration came out a collection of tables and stools made of wood, clay, and cork. Natural materials that belong to both Nordic and Mediterranean tradition.


Totem by Martín Azúa


En jouant avec l’immobilité statique d’un totem, le mouvement oscillant d’un culbuto et la percussion d’un mortier, Martín Azúa a conçu cet objet ‘stabile/mobile’ (mot emprunté à l’œuvre d’Alexander Calder): Tótem.


Après avoir travaillé pendant de nombreuses années avec Azúa, Mobles 114 savait que ce designer d’origine basque était la personne idéale pour concevoir cette pièce. Cet auteur renommé a l’étonnante capacité de transformer les matériaux qu’il utilise en objets uniques à travers lesquels les formes et la nature pénètrent les espaces qui les contiennent.


Tótem a été commandé dans le but d’être présenté sur l’une des étagères Tria exposées au Salone del Mobile 2019 à Milan. Il s’agit d’une édition limitée, réalisée en noyer américain.

Ce n’est pas la première fois qu’Azúa crée une pièce de ce style. Tout au long de sa carrière, le designer a fait évoluer ce même concept en créant plusieurs versions de mortiers et totems.

Il serait d’ailleurs intéressant d’enquêter davantage sur la passion de l’auteur pour ce type de sculptures, et de comprendre ce retour continu à la création de cette catégorie d’objets.

Durant le processus de création de Totem, Azúa a conçu une collection composée de trois modèles différents qui ont à la fois une fonction décorative et fonctionnelle : ils servent de mortiers pour broyer les plantes, légumes ou graines, entre autres.

Ce n’est pas la première fois qu’Azúa crée une pièce de ce style. Tout au long de sa carrière, le designer a fait évoluer ce même concept en créant plusieurs versions de mortiers et totems.

Il serait d’ailleurs intéressant d’enquêter davantage sur la passion de l’auteur pour ce type de sculptures, et de comprendre ce retour continu à la création de cette catégorie d’objets.

Durant le processus de création de Totem, Azúa a conçu une collection composée de trois modèles différents qui ont à la fois une fonction décorative et fonctionnelle : ils servent de mortiers pour broyer les plantes, légumes ou graines, entre autres.

Les œuvres du designer basque couvrent plusieurs catégories : ses créations ont été dessinées à partir de meubles, d’éclairages ou d’objets qui ont un style clairement identifiable. Une identité qui lui est propre, qui se projette à la fois dans ses produits les plus fonctionnels mais aussi des objets plus abstraits, pleins de poésie, et non sans un sens de l’humour raffiné.

Depuis 2007, son projet « Basic House » fait partie de la collection permanente du MOMA à New York. De plus, il expose certaines de ses œuvres au sein de la collection du Musée du Design de Barcelone et dans différentes expositions publiques et privées.


Martín Azúa a été reconnu pour son travail en remportant le « Premio Ciudad de Barcelona 2000 » (Prix de la Ville de Barcelone) le Prix Delta de Plata 2007, le Prix FAD Architecture/Ephimeros 2008, le Prix Design Plus 2009, le Prix Interiorismo Plus 2009, le Prix AD Best Designer of the Year 2010, le Prix Delta de Plata 2011 / ou encore le Prix du meilleur parcours national du magazine Interiores 2015.




Salone del Mobile Milano 2019

The Salone del Mobile 2019, in the city of Milan, ended on the 14th of April. It was the 31st time Mobles 114 had taken part in this Fair, celebrating its 58th edition in 2019. Without a doubt, the Salone is the most important opportunity in the world to present new products and trends in furniture at an international level.

The Mobles 114 stand, designed by Stefano Colli, exhibited the new products launched by Mobles 114 in 2019, extending its catalogue of chairs, tables, accessories and shelving aimed at homes, hotels and restaurants, offices and also public areas.


Colli’s collaboration helped to highlight the brand’s new product structure and convey the new visual identity created by Folch Studio, but the stand’s sober design also served a crucial purpose, using flat white surfaces that contrasted with the warmth of wood to help the product truly express itself.

One of the additions to the 2019 catalogue by Mobles 114 is a new table from the Gràcia family, made from plywood using oak or walnut and available in a wide range of round, square and rectangular sizes ideal for both the home and businesses.


Another new member of the Gràcia family is the upholstered chair in the version with a cushion and cushion-backrest, together with a great variety of fabrics and colours by the Kvadrat and Gabriel brands in their different types of materials.

We have expanded the Classic Collection catalog with the Jujol table designed between 1920 and 1927 by the architect Josep Maria Jujol. This is a reproduction of the table exhibited at the MNAC (National Art Museum of Catalonia). It comes from the house where J M Jujol lived, on the Rambla de Catalunya in Barcelona and, given how it was constructed, we can conclude that it’s a prototype, a unique model which we have reproduced and now forms part of the Mobles 114 Classics catalogue.


The stand was able to present the entire collection of seats by Mobles 114 and its designers, displaying the unity of style and timelessness that Mobles 114 always strives for in its collections.


The Tria shelving system was once again the star of the stand, the system’s great capacity and features being demonstrated by a shelf measuring 7.2 metres wide and 4.5 metres high. The latest version of the self-standing Tria shelf also took centre stage at the exhibition. The designer Martín Azúa helped us to decorate the Tria shelving, creating an exquisitely beautiful sculpture.

The Totem mortar is a limited edition, a collection made up of three different totem models which have both a decorative and practical function: they can be used as pestles to grind spices, pigments, plants and seeds, among other things.

Many thanks to all those who visited the stand. We look forward to seeing you again next year!


Photographs: Meritxell Arjalaguer


Betevé, Barcelona’s local television channel

Barcelona’s local television channel has revamped its identity. Folch Studio has designed a rebranding of Betevé that includes not only the strategy, narrative and graphic applications but also the design of the building’s space and graphics.



Stefano Colli has worked together with Folch at the Betevé offices, designing the shared spaces and sets. He’s also proposed the lighting and fittings.


“We understand the design of spaces as a support for corporate identity; as part of a communication system. We are interested in communicating values, messages and emotions through spaces. Materials, colours, textures and the use of light are all elements capable of establishing important relationships when defining a communication strategy.”

Stefano Colli, Designer & Architect


Using visual references such as James Turrell, Stefano has managed to represent the fact that image (television is image) consists of light and colour. According to the designer, the red stairs leading up to the first floor are an overt tribute to Turrell.


The set is surrounded by transparent false ceilings that emit light of different colours; a light that creates an ambience of backlighting very much in keeping with the spirit of a local television station in a pioneering, forward-looking city such as Barcelona.


In this contemporary setting, the Luco stools, designed by Martín Azúa, form part of the main set’s furniture.

The Luco stools, with three legs made out of natural wood, give a traditional feel and also act as natural absorbers of the light projected by the illuminated table, avoiding any harshness.


In the waiting rooms, the benches designed by Stefano Colli himself share the space with the Luco stools and Pey central tables of different heights.

Folch Studio has recently designed the rebranding of Mobles 114. It also worked previously on the design of the catalogue for Eugeni Quitllet’s TUBE chair, with photographs by Nacho Alegre, among other collaborations.


Stefano Colli has designed several Mobles 114 stands over the past few years. Colli is not only an architect who creates designs but is also involved in Mobles 114’s strategy. He realises the brand is also projected through the architecture and spaces inhabited by Mobles 114.


Photos: José Hevia

New identity by Folch studio

Changes are occurring at an ever-increasing pace and Mobles 114 has realised it needs to define a new visual identity in tune with today’s world while still preserving the values and coherence achieved by the brand over the last 45 years. It all started with Josep Maria Massana, Josep Maria Tremoleda and Mariano Ferrer who founded Mobles 114 back in 1973.

Number 114 in Enric Granados Street, in the Eixample district of Barcelona, was the company’s first home and where its name originally came from. The image of the Eixample, with its orderly blocks of flats arranged into octagonal islands, is identified with the contemporary nature of Barcelona and also with the soul and DNA of Mobles 114.

Foto Manuel Serra


The first logo was designed by América Sánchez and was displayed on the façade during the first few years of the business. A radically modern logo befitting a new generation of designers, architects and artists who were embarking on a groundbreaking venture.

The façade of Mobles 114 at Carrer Enric Granados 114 in 1973.


The logo was redesigned several times by América Sánchez, updating the visual identity and adapting it to the changes occurring throughout the history of Mobles 114. For the last version in 2011, the redesign was carried out together with Helena Tremoleda.

Mobles 114 now needs to define a new visual identity in tune with the times. ‘We also needed to resolve the problem caused by a brand with a logo represented principally by the number « 114 » which did not coincide with how we want to be recognised: as Mobles114.’

On this occasion Folch Studio has taken over and created a new visual identity at the same time as designing a new logo including the word « mobles » with all its letters, followed by the identity always provided by the number « 114 ».



Folch’s vision and insight into the values of contemporary classic, a timelessness which Mobles 114 has always defended, are reflected in a new identity that clearly conveys these values.