Nacho Carbonell Furniture

Matrice side chair is a steel corset compressing a velvet fleece, an organic, carnal form, compressed by a wire mesh. The interaction of two antagonistic materials reminds us of the poetry of blown glass, the bodice on the waist, the imprint left on the body by the wicker chairs. We tried to give the seat a feeling of comfort, both visually and in its use. The iconic Chesterfield sofa quickly became a reference to be summoned. Matrice is a reinterpretation, a sensitive statement of its imprint: the upholstery here is turned over like a glove, revealing the wire mesh structure. The latter forms a corset compressing the softness of the seat and backrest to give it an organic geometry. Matrice is customizable on demand (colors of steel and fabrics, other fabrics), modular in chair or multi-seater bench, and each piece is numbered. This handcrafted chair...

The contemporary Native chair design incorporates materials reminiscent of tribal Indian cultures akin to a modern throne-like chair made from a combination of leather, lace fringe, ...

Alessandra Delgado was once thinking about wire. What would emerge if one started to fold lengths of wire randomly? Bruna chair is the materialization of t...

Franck Evennou has a poetic language inspired by nature, and by all subjects that carry the residue of their pasts. His works, particularly in bronze, like the spare Loop, possess a ...

The Penguin table lamp was designed and produced by Massive, in Belgium, during the 1990's. It is a different lamp because it wobbles on its foot if...

The light that penetrates minerals reveals a beauty that has been hidden within mountains for millions of years. Geological journeys discover precious stones and open the path to the...

The Icon Chair is made of steel and has a black powder-coated finish. Its joints are meticulously welded, creating a streamlined design. The lines of the fr...

Elegant and comfortable, the Aro chair is built with precision and details that make the difference. Made of powder-coated round steel tubes and velvet upholstery. Suitable for b...

An organic and Brutalist style Butterly table lamp. No chips or cracks. Has been professionally rewired and PAT tested. Easily rewired for all regions. Bernard Rooke (born 1938) is a British artist and studio potter. Rooke has exhibited his "Brutalist" ceramics and painting both in the UK and abroad with work in many collections both public and private including the Victoria and Albert Museum, Cleveland Museum of Art, Nuffield Foundation, Röhsska Museum in Sweden and the Trondheim Kunstmuseum in Norway. Bernard Rooke attended Ipswich School of Art studying painting and lithography before going on to study at Goldsmiths College of Art. It was while studying here that he decided to take up pottery. Although unfamiliar with this craft and tradition, he found that working with clay provided new opportunities for freedom of interpretation and creativity. In 1960 Rooke set up his first pottery in Forest Hill in South London along with Alan Wallwork. It was a very small room with enough space for a small electric kiln. He was initially using mainly hand building, coiling, blocking and slabbing techniques. While researching ideas, he was supporting himself by part-time lecturing at London University, Goldsmiths College and St Mary's College. In addition, Rooke's membership of 'The Craftsman Potters' Association' enabled him to show his work in a shop in Carnaby Street in London. In 1967, both the need for a larger working space and becoming disillusioned with living in London spurred Rooke into moving out of the city and to an old mill building in Swilland in Suffolk. Rooke wanted to widen the range of work so as to become more commercial. With the birth of his son, Aaron, and much needed work to be done on the mill, it was important to be able to make a living. In 1968, the Grand Metropolitan Hotel commissioned Rooke to make 120 standard lamps, 120 table lamps as well as a 24 foot long ceramic mural and another 9 foot high, which incorporated interior lighting. The money from the commission helped to pay for much needed restoration work on the mill. By the 1970s, a gallery space was opened in the windmill and run by Susan Rooke, Bernard's wife, selling work to locals and tourists as well as to American airmen based nearby. The vision for Mill Gallery was beginning to develop and alongside this a reputation was building bringing in a good source of income. Sons Aaron and Felix were becoming more involved with the running of the pottery, giving Bernard more time to develop new ideas and designs and more time to continue with his painting. In 2004, the Rooke family decided not to sell to the public through the gallery anymore and close the pottery to concentrate more on painting and printmaking. In 2017 Bernard's lighting was featured in the Exhibition: “Glass, Light, Paint & Clay” at the Peterborough Museum and Art Gallery. The exhibition featured four artists: Bernard Rooke, John Maltby...

The ICON Chair will add an architectural moment to any room. From all angles the silhouette offers a different set of lines sculpting space and light. The ...

Crafted with precision and care, the Emma chair is a testament to the rich heritage of Mexican craftsmanship. Each chair is a unique work of art, showcasing the skillful hands that bring to life through time-honored techniques. Experience a new level of comfort and resilience with the Emma Chair, designed to withstand the test of time. Its ergonomic design ensures a pleasant seating experience, making it the perfect addition to a complete dining set...

Cuadra light Smoke crystal Hand-carved Brass base Hand repoussé Limited edition Inclusions and shape slightly vary.