[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-de-la-espada-look-book-vl-3-2020":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":445},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":440,"matched_pages":441,"match_count":442,"two_pages":443,"show_text":444},25062,"Look Book Vl 3 2020","de-la-espada-look-book-vl-3-2020","\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002F29\u002F987bb8ac991538eb132d758c7b54fb-28fe2ccaf4.pdf","De La Espada",2084,"de-la-espada","26.7 MB",[14,17,21,25,29,33,37,41,45,49,52,56,60,64,68,71,75,79,83,87,91,95,99,103,107,111,115,118,122,126,130,134,138,142,146,150,154,158,162,166,170,174,178,182,185,189,193,197,201,205,209,213,217,221,225,229,233,237,241,245,249,252,256,259,263,267,271,275,279,283,287,291,295,299,303,307,311,315,319,323,327,331,335,339,343,347,351,354,358,362,366,370,374,378,382,386,390,394,398,402,406,410,414,418,422,426,430,434,438],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.2.png","Focusing on the key pieces \nof furniture for the home: \na place to eat, rest, \nsleep and work\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.3.png","CONTENTS\nDe La Espada\n4\nMonte da Azarujinha\n10\nA Conversation with Aboim Inglez Arquitectos\n55\nOur Craftspeople\n60\nOur Product Development Team\n62\nSão Mamede House\n66\nA Conversation with Manuel Aires Mateus\n129\nA Conversation with Jason Miller\n140\nLet’s Pretend This Never Happened\n144\nOur Craftspeople\n174\nDesigners\n176\nProduct Index\n180\nTimber\n205\nCredits\n210\nContact\n212\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.4.png","5\nOBJECTS WITH MEANING\nThe objects in our lives should be useful and \nbeautiful, well thought through, and designed \nto last. As our experiences become layered \nmemories, the reassuring presence of our valued \npossessions reminds us of our life’s journey. \nObjects that connect with us originate from \na place of connection: creators invested in \nthe integrity of their craft,  materials that \nappeal to the senses, consideration of the \nwider world. At De La Espada we build for \nlife; furniture that ages well, with enduring \nrelevance. \n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.5.png","6\nLUXURY IN THE DETAILS\nThere is no greater luxury than time and \npersonal attention. It is the small moments \nthat define the whole of our lives; likewise, \na product is the culmination of its details. \nFrom our design partners to our craftspeople, \nthere is a deep engagement with our furniture, \nand a mission to make it as beautiful and \nenduring as possible. No detail is too small \nfor consideration, from the particulars of \njoinery, to tactility, to decisions over how \nto apply each plank of wood to showcase the \nindividuality of its colour and grain. We define \nluxury as experience, taking the time to enjoy \nthe process of creation, and passing this \npleasure on to those who spend a lifetime with \nour furniture.\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.6.png","9\nAT HOME IN THE WORLD\nDe La Espada is deeply connected to Portugal, \nhome to our dedicated factory and many of the \npeople who pour passion and skill into creating \nour products. The warmth and history found in \nPortuguese design and architecture is present \nin our work, combined with an international \nperspective brought by our homes in London and \nNew York, and our collaborators in Stockholm, \nVenice, Shanghai, London, New York, and \nIstanbul. We work closely with our design \npartners, combining expertise and exchanging \ncultures, friendships, and ideas. De La Espada \nfurniture is where the creativity of some of \nthe world’s leading designers meets the highest \nlevel of European craftsmanship.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.7.png","MONTE DA AZARUJINHA\n10\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.8.png","13\nMonte da Azarujinha\nMonte da Azarujinha is a converted and extended \nfarmhouse on the outskirts of Azaruja village \nin the Alentejo region of Portugal. The \n140-hectare property contains two buildings: \none a century-old family home, and the second \na newly constructed holiday accommodation. \nBoth were designed by Aboim Inglez Arquitectos \nwho worked to honour the existing construction \nand landscape while introducing new elements \nwith a feeling of relevance and timelessness. \nThe buildings, set at a right angle to one \nanother, share a similar appearance due \nto the use of traditional materials and \nconstruction methods. Each has a low-slung \nform that integrates harmoniously with the \nsurrounding landscape, and large sliding \nwindows that offer breathtaking views while \nemphasising the connection between the built \nand natural environments. The interconnected \ninterior spaces, featuring white plasterwork \nand polished concrete floors, flow into one \nanother creating an openness. The colour white \nis repeated on the exterior to reflect the \nsun, keeping the interior cool in the warmer \nmonths. At Monte da Azarujinha a vast plain \nis punctuated by cork trees and sensitively-\ndesigned buildings, where everything works \ntogether as one.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.9.png","403S\u002FL PLANALTO SOFA\n 103S LAUREL SIDE TABLE\n103LM LAUREL COFFEE TABLE\n",9,{"image":50,"text":15,"number":51},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.10.png",10,{"image":53,"text":54,"number":55},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.11.png","18\n19\n",11,{"image":57,"text":58,"number":59},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.12.png","20\n403S\u002FL PLANALTO SOFA\n 103S LAUREL SIDE TABLE\n",12,{"image":61,"text":62,"number":63},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.13.png","23\nLEFT: 403S\u002FL PLANALTO SOFA \nABOVE: 103LM LAUREL COFFEE TABLE\n",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.14.png","24\n441 STOOL, 443 BENCH, 445 LOW SETTLE\n452FL LARGE FIXED TOGETHER TABLE\n",14,{"image":69,"text":15,"number":70},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.15.png",15,{"image":72,"text":73,"number":74},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.16.png","29\n",16,{"image":76,"text":77,"number":78},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.17.png","30\n",17,{"image":80,"text":81,"number":82},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.18.png","33\n101 ELYSIA LOUNGE, 101O NINO OTTOMAN, 105 BLANCHE BERGERE, 456M COFFEE TABLE\n",18,{"image":84,"text":85,"number":86},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.19.png","34\n35\n",19,{"image":88,"text":89,"number":90},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.20.png","36\n37\n",20,{"image":92,"text":93,"number":94},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.21.png","38\n 456M COFFEE TABLE, 105 BLANCHE BERGERE\n",21,{"image":96,"text":97,"number":98},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.22.png","40\n41\n789 SOLO VITRINE\n",22,{"image":100,"text":101,"number":102},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.23.png","42\n43\n",23,{"image":104,"text":105,"number":106},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.24.png","45\n",24,{"image":108,"text":109,"number":110},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.25.png","784 SOLO DESK, 750 SOLO DINING CHAIR\n",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.26.png","48\n49\n",26,{"image":116,"text":15,"number":117},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.27.png",27,{"image":119,"text":120,"number":121},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.28.png","52\n",28,{"image":123,"text":124,"number":125},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.29.png","55\nSimplicity, when it comes to good design, is a misnomer. \nThe word is often associated with a feeling of clarity and \nconnection that, in fact, can only be achieved through \nintense care and attention toward a broad range of \npracticalities: financial, logistical, elemental, historical \nand personal. Done well, everything merges seamlessly \nto create something so natural to our humanity as to \nfeel ‘simple.’ It is a concept Lisbon-based Aboim Inglez \nArquitectos understands well.\nThe work of Ricardo and Maria Ana Aboim Inglez, co-\nfounders of Aboim Inglez Arquitectos, is characterised by a \nfeeling of continuity, timelessness, and freedom. In other \nwords, simplicity. Their design process involves carefully \nanalysing the property “the landscape, the place, the \nenvironment” and working to reinforce it. For renovation \nprojects, this includes honouring the original architect’s \nintentions, and asking “how can you complete it — how can \nyou add something — without it losing its character.”\n“Simple ideas can have the ability to become powerful \nideas. And that’s what we like to work with,” says Ricardo. \n“And then things get very complicated, and there is a huge \neffort from our part and it takes time to reach a level \nof simplicity. For a while we are taking things away; we \nrealise what is important and not important. We are taking \nand taking and taking but in the end it is all there.”\n>\nA CONVERSATION WITH \nABOIM INGLEZ ARQUITECTOS\n“Simple ideas can have the ability \nto become powerful ideas.”\n",29,{"image":127,"text":128,"number":129},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.30.png","When designing Monte da Azarujinha, a converted farmhouse \nin the Alentejo region of Portugal, the architects were \nfaced with an immense property, “and there was only this \nvery humble building standing there, not in the middle of \nthe property, but standing there in the vast landscape. \nAnd the question for us is: How do you enlarge this \nbuilding without being the ‘new building in town,’ the \n‘star of the whole landscape?’” Ricardo says. “How do you \ncontinue this tranquility and this serene landscape, being \ncontemporary, dealing with contemporary issues, but not \ntrying to impose those issues onto the project and onto \nthe site?”\nThese are questions they asked throughout every stage of \nthe design process, which served to thoroughly interweave \nthe project with the place. Rather than extending the \nexisting building, they created a second using the same \nmaterials palette to more quietly integrate. The windows \nof the buildings became a thoughtful connection point that \nis simultaneously unobtrusive and fresh, offering a new \nperspective: “We tried to bring out the best of the site, \nframing the views so it will not become boring. If you \nhave a large window facing toward that vast plain you will \nbe bored because it is always there. So it’s nice to have \nsome framed views inside the building,” explains Ricardo.\nOne result of the framed views is a different interaction \nwith the property, an invitation to move around the space. \nFreedom of movement was very important to the architects, \nand influenced many design decisions for Monte da Azarujinha. \n“There are no doors, there are no circulation paths you \nhave to follow,” says Ricardo. The entrance door is only \nused when the house is fully closed. The clients, when \nthey get there, they open that door and they never use \nit again. They close it and they always go through the \n[sliding] windows...it’s a very free space, that we wanted \nto suppress entrance doors, barriers, circulation paths; \nwe wanted to have freedom.”\n“Because we had a very low budget also, we tried to use \nthe cross-ventilation and that was what helped us: how the \nlight and the wind come in,” adds Maria Ana. “That was how \nwe started drawing all the circulation, and this need to \ngive a very free way of using the inside and the outside \n— that was also our purpose.”\nThe buildings, designed to sit quietly in their natural \nsurrounds, reflect the landscape both figuratively and \nliterally: “The building changes, the colours — although \nit’s all white, it has a lot of colour because of sunsets \nand because of the clouds,” says Ricardo. “And when you \nare standing in the house or in the property the sky is so \nmassive, because there is nothing around, that it becomes \nagain another project element.”\nAboim Inglez Arquitectos cite celebrated Portuguese \narchitect Álvaro Siza as a key influence who “played a \nmajor role in our architectural upbringing” and there is \na deliberate nod to him in Monte da Azarujinha. Ricardo \nexplains: “You know the external long corridor with the \nbench that exists on the new building? That’s our Siza \nhomage. And that’s a lesson we’ve learned in one of his first \nprojects, the Casa da Cha, the teahouse...the entrance is \nso low, I think it has 2 metres, you can touch the ceiling \nwith the hand, and then when you get in, you go down and \neverything is quite vast or in front of the ocean; there \nis this sense of freedom. And that porch, for us, plays \n[a similar role] — it is very low, it is 240 high; if you \nstand on a bench you can touch the ceiling, and at the \nsame time we felt we needed an element that almost touches \nyou in that vast plain. So it is the element the building \nconnects with you and makes sense of the whole landscape \nsurrounding.”\nThe pool was also designed with the aim of creating \nconnection. “One thing Maria Ana and I really thoroughly \ndecided was we didn’t want to have a pool surrounded by \nthe house. Because the most logical thing was to put the \npool in the middle … and then that becomes an element that \nis always there, present, and it doesn’t have to do with \nthe property and the spirit of the place. And we wanted \nsomething that was more like a water tank,” Ricardo says.\n>\n",30,{"image":131,"text":132,"number":133},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.31.png","58\n“Like some distance of the main construction to give more \nopenness or more freedom. Also again to be able to walk \naround and not be completely surrounded,” says Maria Ana. \n“You can be in the house without seeing the pool or you can \nbe in the house looking at the pool. You feel the people \nthere bathing and having their own privacy; they are not \nexposed as if it was in the middle and it is not really \nthe centre,” says Ricardo.\n“And you can feel also the landscape better while you are \ninside the water. A nice feeling of being really involved \nin the surrounds,” says Maria Ana.\n“And traditionally, Alentejo region is one of the poorest \nareas of Portugal... it’s very vast plains, very hot here in \nthe summer, and they were doing agriculture, people were \nvery humble; we felt this should go into the project,” says \nRicardo. “It’s not a pool house, it is just a property that \nhappens to have the pool, which is very very different. And \nthe clients were in the same frequency in tune with us, \nbecause they are very... simple people, very intelligent \npeople... very open to project ideas, and very bold... they \nnever told us, but they expressed it without verbalising it \nis that ‘we don’t want to stand out, we just want to stay \ncalm, have a nice property, people will enjoy it without \nstanding out.’”\n",31,{"image":135,"text":136,"number":137},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.32.png","Michel is in charge of the painting department at the \nDe La Espada factory. Twenty years working as a painter \nin the car industry, well-known for its demanding skill \nlevel and intensive R&D, gave him a deep understanding \nof his craft which he has built upon for the last ten \nyears as part of our team. He oversees all painting, \nstaining, and lacquering at our factory, and works closely \nwith our product development team to devise new finishes. \nHis expertise allows him to create finishes with colour \nprecision that successfully balance lustre with durability. \nHis eye for detail ensures that every piece is finished to \na superior standard, and most of our gloss painted finishes \nare applied by him personally. \nOriginally from France, Michel has lived in Portugal for \nover 17 years, and finds enjoyment in the favourable weather: \nwalking, playing sports, and mountain biking. In summer, \nyou’ll notice his bike resting among the pine trees in \nfront of the factory; it’s his favourite way to travel.\nOUR CRAFTSPEOPLE\nPaint Finishing: Michel\nOUR CRAFTSPEOPLE\nGraça and Graça work together on the belt sander at the De \nLa Espada factory. After receiving glued planar elements \nand select components, they run these through the belt \nsander to remove excess dried glue and create a perfectly \nlevel surface with precise measurements. Each component \nis passed through the belt sander a number of times, \nand before each pass, the team measures the piece then \ncalibrates the machine to achieve the dimension required. \nThough largely used for planar elements, other components \nsuch as some legs are also adjusted in this machine. The \nfinal dimensions of each component must be exact, and it \nis the expertise of Graça and Graça that ensures this \nprecision is achieved. The pair enjoy working together, \nlaughing and joking throughout the day. As they describe \nit, “Any problems stay outside the door.”\nBelt-Sanding: Graça and Graça\n60\n61\n",32,{"image":139,"text":140,"number":141},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.33.png","62\n63\nWe are fortunate to work with design partners we \nadmire, both personally and professionally. Each brings \npersonality, vibrancy, and their own particular way of \nworking, collectively playing a role in defining the diverse \nyet constant aesthetic of De La Espada. Each collaboration \nis unique, yet all require close communication in order \nto harness the unique skills of each partner and work \ntoward a common vision. Key to this process is our product \ndevelopment team. \nAndrew, Kuma, Ruben and André work closely with our \ncollaborating designers as well as our craftspeople, serving \nas a vital connection between the numerous stages involved \nin realising a product. Implementing their philosophy of \nconstant improvement, the team connects every stage from \ndesigner to end client, considering and refining products \nin response to feedback from everyone involved, from those \nwho design and build to the final customer. \nWhen a designer submits sketches or 3D models of a new \ndesign, the product team creates CAD (Computer Aided \nDesign) drawings using them as a guide. They communicate \nOUR PRODUCT DEVELOPMENT TEAM\nclosely with the designer to understand the intricacies \nof what they wish to achieve, and by combining their own \nexpertise with that of our craftspeople, they work to \nrealise that vision. They ensure the product fulfils the \ngoal of the designer while optimising it for CAM (Computer \nAided Machinery), assembly, and performance.\nThe team creates “the first passes of the prototypes, send \nthem back to see if [the designers] are happy with the \nproduction, and if it will become the final product or if \nwe need to tweak it to what they specify,” says Ruben.\nIt’s essentially a first draft, whereupon they will get \nfeedback from other members of their team, the production \nmanager and the head carpenter. “Then we’ll create a second \ndraft which will be a little bit more refined because \nit’s trying to make everyone happy from the CAM point of \nview, from the assembly point of view, from the experience \npoint of view,” says André. The team keeps a close eye \non production, checking on the progress of the first \nprototypes, and working with the upholstery department on \npatternmaking. \n>\n“We are the ones who connect all the dots.”\n",33,{"image":143,"text":144,"number":145},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.34.png","64\n65\n“With upholstered stuff it’s really difficult to represent \nthings in 3D and in CAD, and Kuma has a lot of experience \nof understanding what a designer is trying to achieve by \nlooking at 3D work and then discussing it,” says Andrew. \n“We’ll speak to the designer and ask them to send images \nof other things they like in upholstery — almost like a \nmoodboard. Just say, you like that fold here or that kind \nof deconstructed look on this sofa, for example on the \nBelle Reeve, and then we just look at our 3D and try to \nincorporate some of these details that you see. And Kuma \nkind of interprets that. He’s good at making patterns, as \nhe better understands what the designer is trying to do. \nIf you leave it just purely up to the upholsterers, they \nwill try to make it in the best way they know how, but not \nso much trying to fulfil the goal of the designer.”\nTogether with the production manager, the team chooses \nthe most effective production process for each product, \nbalancing efficiency with the designer’s aesthetic goals. \n“There are many approaches to build any one product, and \nwhy a product ends up the way it does is because each \nand every product moves through a design process until it \nreaches a point when all stakeholders are happy: production, \ndesigner and development team,” says Ruben. \n“We are the ones who connect all the dots,” says Kuma.\n“I think that’s a good analogy. We connect the dots. [Each \nperson involved] is important but sometimes they don’t see \nbeyond their own sphere of what they are doing. For example, \nthe carpenter doesn’t really think about the upholsterer, \nthe upholsterer doesn’t think about the carpenter, the \nmarble guy doesn’t really care about the metal work. They \nare just thinking in their own little bubble, and that’s \nall they see. And sometimes without us, everything comes \ntogether and it just won’t work,” says Andrew.\nThe team enjoys the variety their work offers:  “My favourite \nthing about the job is that every day is different. The \nconstant learning, I think, is one of the best things. We \nare constantly improving on our work. We have to follow \nthe process because the process and materials and the way \nthe suppliers work with them will change over the years,” \nsays André.\nThey also enjoy working closely with production and seeing \nthe products develop: “One of the most exciting things \nabout working in product is seeing something transition \nfrom a CAD drawing to a physical object,” says Andrew. \n“That is really exciting and still gives me a kind of wow \nfactor. When you are pushing the boundaries of what is \npossible, it gives you a real sense of achievement to see \nit come to fruition. And like all the guys were saying, it \nis the constant variety. There is no monotony. Every week \nor every month is a new challenge, whether it is designing \nproducts or designing stands; we do everything in terms of \nproject managing, [exhibition] stand design and building, \nproduct. It feels like a lot but it gives you a good sense \nof achievement at the end of the year.”\n",34,{"image":147,"text":148,"number":149},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.35.png","SÃO MAMEDE HOUSE\n66\n",35,{"image":151,"text":152,"number":153},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.36.png","69\nSão Mamede House\nSão Mamede House is a residence located in \nthe old town of Lisbon. Portuguese architects \nManuel Aires Mateus and Sofia Pinto Basto \ntransformed the ground and basement levels \nof this ageing 18th century residential \nbuilding, modernising with sensitivity for \nits past. Walls and ceilings were painted \nwhite to highlight historic elements including \nflooring, pilasters and arches made of stone. \nThe original layout, a series of rooms without \ncorridors, allowed for the creation of larger \nopen spaces that flow into one another. A two-\nstorey extension was added at the rear, a \nsimple white box with large windows overlooking \nthe communal garden, creating a visual dialogue \nwith the cityscape and Tagus river beyond. An \nunderground cistern, which the team discovered \nduring renovations, was transformed into a \nliving space illuminated by natural light \nspilling down through an aperture above. The \ndesign harmoniously combines original features \nwith modern interventions, invites movement \nthroughout the spaces, harnesses natural light, \nestablishes a relationship with the outdoors, \nand utilises solid, honest materials.\n",36,{"image":155,"text":156,"number":157},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.37.png","051 ELLIOT DINING TABLE, 050 ELLIOT DINING CHAIR\n",37,{"image":159,"text":160,"number":161},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.38.png","72\n73\n",38,{"image":163,"text":164,"number":165},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.39.png","74\n75\n",39,{"image":167,"text":168,"number":169},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.40.png","76\n",40,{"image":171,"text":172,"number":173},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.41.png","78\n79\n",41,{"image":175,"text":176,"number":177},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.42.png","054 GATES SOFA, 459 SIDEKICKS HEIGHT ADJUSTABLE TABLE\n",42,{"image":179,"text":180,"number":181},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.43.png","83\n",43,{"image":183,"text":15,"number":184},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.44.png",44,{"image":186,"text":187,"number":188},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.45.png","86\n87\n",45,{"image":190,"text":191,"number":192},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.46.png","88\n053 CLASSON TALL CHEST\n",46,{"image":194,"text":195,"number":196},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.47.png","90\n91\n",47,{"image":198,"text":199,"number":200},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.48.png","92\n93\n",48,{"image":202,"text":203,"number":204},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.49.png","95\n",49,{"image":206,"text":207,"number":208},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.50.png","359 ‘KIMBLE’ WINDSOR CHAIR\n",50,{"image":210,"text":211,"number":212},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.51.png","98\n99\n",51,{"image":214,"text":215,"number":216},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.52.png","100\n101\n750L SOLO SOFA\n",52,{"image":218,"text":219,"number":220},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.53.png","102\n103\n",53,{"image":222,"text":223,"number":224},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.54.png","104\n",54,{"image":226,"text":227,"number":228},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.55.png","106\n768 FRAME BED WITH ARMS, 790 HANDLE SIDE TABLE\n",55,{"image":230,"text":231,"number":232},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.56.png","108\n",56,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.57.png","111\n790 HANDLE SIDE TABLE\n",57,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.58.png","112\n113\n",58,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.59.png","114\n115\n",59,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.60.png","116\n117\n391 HEPBURN MODULAR SOFA, 772 COMMUNE COFFEE TABLE\n",60,{"image":250,"text":15,"number":251},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.61.png",61,{"image":253,"text":254,"number":255},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.62.png","120\n121\n",62,{"image":257,"text":15,"number":258},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.63.png",63,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.64.png","124\n125\n345 I-BEAM SIDE TABLE\n",64,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.65.png","126\n127\n",65,{"image":268,"text":269,"number":270},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.66.png","128\n129\n",66,{"image":272,"text":273,"number":274},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.67.png","131\nSão Mamede House is rich with the history of its location in \nLisbon’s old town, utilising original stone work stretching \nback to Roman times. It also teems with the history of its \noccupants, architects Manuel Aires Mateus and Sofia Pinto \nBasto, who together restored the house 20 years ago to \ncreate their married home. Coming fairly early in their \ncareers, the development of the project played a key role \nin shaping them as architects. We sat down with Manuel to \ndiscuss the evolution of São Mamede House and how it has \nimpacted his approach to architecture. \nThe couple’s connection to the property stretches much \nfurther back than 20 years. As a child, Manuel would visit \nthe nearby cathedral for mass at Christmas time, and \nclearly remembers observing the wall demarcating the edge \nof the property. Sofia also had an early connection to the \nbuilding, as it was once owned by a member of her family. \nThough the area was not luxurious when the two were looking \nto buy, these connections made the choice feel natural, \nand they were drawn to the property’s features: “It had a \npossibility of having a garden and facing the river, and \nit was nice to have a house close to the castle and close \nto the nature, the cathedral also.”\nThe restoration took time, both due to the history of the \nproperty, and the architects’ desire to design by way of \ndiscovery: “It took us 5 or 6 years to restore the house \nbecause it is a preserved area...In fact, we have some \nRoman stone in the middle of the living room that we found \nin the garden. And we dig in the garden until 5 ½ metres \ndown the actual level of the garden, and we have there the \nRoman street, the actual Roman road.  We had to do a lot \nof work of archeology, and the building is preserved so \neverything had been taking slow progress. And at the same \ntime we decided to make it very slow because the idea was \nto accept that more than trying to impose a project was to \ntry to understand what the place was asking for and try to \nlearn from the pre-existing conditions to design.”\n>\nA CONVERSATION WITH MANUEL AIRES MATEUS\n“The idea was to understand what the place was \nasking for and try to learn from the \npre-existing conditions to design.”\n",67,{"image":276,"text":277,"number":278},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.68.png","132\n133\nBy working with the materials present in the property, \nthe architects at once preserved its history and breathed \nnew life into it: “We found a lot of these...large pieces \nof stone, 20 to 30cm large...and most of them were ancient \ninfrastructure of the building. And we just remove it and \nwe made a pattern of the floors in the garden and then inside \nthe house. And even, if you see, all the stairs of the \nhouse are blocks of stone. Blocks of stone that were also \nburied in the ground. You see, this stone also allows you \na lot of freedom because you can cut, adapt...and we just \nremoved the stones and put it again. Everything was done \nin pieces. If you think about the dining room...we build \nthe new wall that exists there and fits exactly; you have \nthe feeling that the wall has always been there because you \nuse that old stone...it’s like a puzzle. All this movement \nwe make with the stones allows us to understand first this \nfeeling of time that is so important but the feeling...that \nyou don’t have to preserve in a direct sense; it’s also \ngood that you can, let’s say, remould or recreate the time \nin a true way.”\nThe couple made weekly visits to the site to increase their \nunderstanding of the property, and to intuit the next \nsteps of the renovation. This led to the discovery of an \nentirely new level: “We decide to operate on the house with \nfreedom of discovery, the project step by step. We used to \ngo there at the weekends to look at the situation and try \nto move another step on the project, and then every day you \nhave a kind of new surprise. One day we had this cistern, \nthat we now use as a playground for the kids, let’s say. And \nit was a well to the facade and it was full of water, so \nfor me it was a well, but the archeologists, they say ‘Can \nwe take the water out of the well?’ So they take the water \nout, and we visit with the stairs a wonderful cistern...\nand we start to dig to make a connection to a cistern to \nthen use it as a space, and we start to dig and then we \ndecide to make a small tunnel just to see the situation...\nthe bricks that were around the small tunnel just fell and \nthere was already an arch there. And we said, ok we have \nthis arch, the arch of the cistern. And it was done, and \nwe just have to finish it. And it was so impressive this \nidea that we are all trying to conduce the process and not \nimpose on it.”\n>\n",68,{"image":280,"text":281,"number":282},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.69.png","134\n135\nThe experience of designing his own home gave \nManuel an understanding of the importance of \ntime in architecture. \n“It was the first time that we saw the influence \nof time in what you do. I was 35; we don’t think \nabout our building get old when you are less \nthan 35. I mean, you don’t think of anything at \nall when you are under 35, so it’s a possibility \nthat you don’t face. And it was first time that, \nin fact, we had a kind of reaction, started to \nlearn that a building have to get old, have to \nresist, and it was something that we learned \nexactly in that project. So when I think about \nthat...we have to understand where this can \ngo and why time can [add value] to this, a \nproject like that. Also helped us a lot that \nwe found Gothic stones, Roman stone, and, of \ncourse, 19th century or 18th century stone in \nthe ground. So we learned a lot about this idea \nof time and...changing this process of time in \nmanipulating the layer and not transforming \ncompletely the reality. But at the same time, \nit was the idea of understanding how time could \ninfluence this process and how time is going \nto be part of the process of the house. And \nit is very clear. I mean, the first things that \nwe designed, I remember our big concern was \nthe day it was ready, and our concern now is \ncompletely different because we know the day \nit’s going to be ready it’s the first day of the \nlife of a building. So it was in that sense a \ngreat lesson and now I am absolutely sure that \nit was an important moment of our [evolution \nof] work.”\n>\n",69,{"image":284,"text":285,"number":286},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.70.png","136\nOf course, interwoven with the passage of time, are \nthe realities of day-to-day life. And, Manuel explains, \narchitecture revolves around life:\n“And one of the things that you also learn is that you \ndon’t design. You deal with life. That’s architecture. \nDesign is a very small word [for] what you do when you \nare trying to propose a support for life. Because a house \nis a support for life. So we are interested in the way we \nare going to live, or the feelings that we are going to \nprovide, or the way we are going to move around the house, \nthings that are connected to life; our friends are going \nto come, kids. I mean, this is always talking about really \nreal things about life and then start from that we give a \nforum; we design in that sense. But we don’t think of this \nidea of design, because the word design, in our moment \ntoday, is very connected to image. And we don’t accept the \nimage as a starting point.”\nSão Mamede House, renovated with elements of the Roman \nruins that stood in its ground, reflects the passage of \ntime as well as daily life. The ruins bind these concepts \ntogether: \n“One of the things that we like very much is this idea of \nthe ruins. Of course, 20 years ago, it was this romantic \napproach [to] the ruin, but probably the most important is \nthat the ruin is always an open possibility. And I feel \nthat good architecture is exactly the same as a ruin; we \nhave the feeling that good architecture will become always \na good ruin. And when you visit the ruins... in Greece and \nRome and places like that... when we look at these ruins \nwe always think about possibilities. Our mission was to \ndesign a house as a ruin. The people that are going to \nlive there are going to use the house [with a] freedom of \npossibilities...also the feeling that they are going to \nfinish the process. Because architecture is an art but it \nis an unfinished art. So if you think of a painting or a \nsculpture, it is already finished. So it is what it is. In \narchitecture you need to add a layer of life to finish a \nproject. And...you always project yourself on a ruin in a \nclear way. And our mission is to design in the way that we \nfeel that we could project ourselves on the house and we \nhave the feeling of being part of the project.”\n",70,{"image":288,"text":289,"number":290},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.71.png","138\n",71,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.72.png","141\nInternationally renowned for designs that harmoniously \nmerge disparate influences and fascinations, Jason Miller \nis part of a powerful set of New York-based designers who \nhave forged a fresh, contemporary American design aesthetic \nthat now regularly appears in top interiors projects across \nthe world. From his headquarters in Brooklyn, Miller \ndesigns lighting, furniture, accessories and interiors, \nrunning Jason Miller Studio as well as high-end lighting \nbrand Roll & Hill where he collaborates with independent \ndesigners, from the well-established to the up and coming. \nHe has been instrumental in bringing American design to \nthe forefront of the international design conversation, \nboth through the power of his own designs, and through his \npractical support of his peers.\nMiller was educated in New York as a fine artist, receiving \na master’s degree in painting before working in the studio \nof sculptor Jeff Koons. He established his eponymous design \nstudio in 2001 after transitioning from art direction in \nthe advertising world and working with industrial designer \nKarim Rashid, a journey that gave him greater clarity \non the best outlet for his creativity. Miller’s designs \ncarry an imprint of his fine art education, revealed as a \nreimagining of contemporary American culture. \nA native of Darien, Connecticut, he is inspired by his \nsuburban upbringing: aiming to suit both suburban and \nurban spheres, his designs are luxurious and warm, familiar \nand completely new.\n>\nA CONVERSATION WITH JASON MILLER\n“I wanted to make work that has the comfort of \nthe old and the freshness of the new.”\n",72,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.73.png","142\n“I try to design something that the designers I admire \nwill like..but also what my mother would want to have in \nher home. I think this is possible,” he says.\nThis juxtaposition can be seen from Miller’s earliest work, \nsuch as his Superordinate Antler Lamp series from 2003, \nwhich reimagines the antler lamps often found in rural \nsettings as a series of luxurious ceramic light sculptures. \nCreated especially for a group exhibition, the series was \nthe first lighting Miller designed, and was seminal for his \ncareer direction, igniting a passion that led to further \nlighting design and eventually to establishing Roll & \nHill in 2010. It also set a precedent for the impact \nof his work, quickly appearing in numerous fashionable \nurban environments, and influencing the emergence of a more \nnature-oriented modernism.\nThe Seconds collection of tableware, designed in 2004 \nfor another group exhibition, boldly merges traditional \nand contemporary elements. Conceived as a celebration of \nthe ordinary and imperfect, the series imagines broken \nplates with traditional patterns repaired with shards of \ncontrasting plates, highlighting and making a feature of \nthe breakage. Each plate in a set features its own dominant \nclassic pattern, while they are united by the simple \nbird graphic on the repair shards. Now in the permanent \ncollections of the Museum of Arts and Design in New York \nand the Brooklyn Museum, Seconds reveals the intersections \nof art and design, tradition and modernism in Miller’s \nwork. These are themes he continues to explore, including \nin his furniture for De La Espada.\nJason Miller was drawn to the partnership with \nDe La Espada as it allowed him to conceive a full \nbody of work: “I’m not really interested in doing a \ncoffee table for this company and a chair for this \ncompany. The idea of developing a whole collection \nreally appealed to me.” \nThe pairing also a felt natural due to a shared \npassion for solid wood:  “When I was in school, \nand just out of school, I worked as a carpenter. \nI have always liked the humanity of wood. It’s \none of those materials like stone, ceramic, glass \nthat humans have been using for centuries and will \ncontinue to use into the future. I think De La \nEspada has a respect for the material that comes \nthrough in the products.”\nMiller’s understanding of craft is reflected in the \nintricate detailing of his designs, a deliberate \nharnessing of De La Espada’s woodworking expertise. \nThe designer’s creativity combined with his \ndecisive, straight-forward approach to problem \nsolving and communication means that every detail \nis closely examined and shaped precisely to his \nunique vision.\nDe La Espada has long appreciated the way Miller’s \nwork combines decorative elements with contemporary \ndesign, and found it exciting to bring this quality \nto the brand, something that was missing from the \nEuropean design scene. \nIn designing for De La Espada, Jason Miller explores \nthe contrast of old and new he sees in Brooklyn \nbrownstones:\n“I was thinking about a housing trend that is \nprevalent in Brooklyn currently. 100-year-old \nbrownstones, which were originally built as single \nfamily homes then chopped up into apartment \nbuildings, are being converted back to single \nfamily homes. Many of these buildings still retain \na lot of the original details — ornate fireplaces, \nmouldings and woodwork — but are in desperate \nneed of upgrades. This makes for an interesting \njuxtaposition of old and new design. I wanted to \nmake work that has the comfort of the old and the \nfreshness of the new,” he says. \nThough inspired by a specific place, Jason Miller \ndesigns have a universal appeal, their juxtaposition \nof time, purpose, and aesthetics allowing them to \nwork in a variety of environments. They have a \nrich, sumptuous quality, a quiet curvaceousness \nthat captures elements of a traditional American \naesthetic in a more modern design language, \ndivulging the designer’s interest in examining \nhistory while remaining contemporary. \n",73,{"image":300,"text":301,"number":302},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.74.png","LET’S PRETEND THIS NEVER HAPPENED\n144\n145\n",74,{"image":304,"text":305,"number":306},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.75.png","146\n“This presentation represents a reaction to \nthe things that frustrate me when I look at \nour industry.  We think of products rather \nthan people, we show them in spaces that, in \nthe end, are truly empty, and we cannot hold \npeople’s attention to allow them to reflect \nand think about what they saw. Of course, \nwe could remain frustrated and do nothing \nabout it, but with a little courage of our \nown and help from Studio Astolfi, we created \nsomething that communicates earnestly and at \na very personal level.  Communication, and \nemotion, is vital for our industry,” says Luis \nDe Oliveira, founder of De La Espada. “We \ncreated an immersive experience within a real \nStockholm apartment, which allowed visitors \nto interact with our furniture and learn more \nabout our values as a company, without becoming \npretentious and even in some cases laughing at \nourselves.”\n785 SOLO CABINET\n",75,{"image":308,"text":309,"number":310},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.76.png","149\n403S\u002FL PLANALTO SOFA\n",76,{"image":312,"text":313,"number":314},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.77.png","151\n122 BELLE REEVE SOFA\n",77,{"image":316,"text":317,"number":318},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.78.png","152\n153\n“Many businesses focus on storytelling, but \nnot everyone is able to create a story that is \ndeeply touching. One who has succeeded, and \nin so doing takes inspiration to new artistic \nheights, is Portuguese family-run company \nDe La Espada.” \nRUM Design Sweden\n",78,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.79.png","155\n051 ELLIOT DINING TABLE, 050 ELLIOT DINING CHAIR\n052E CLASSON SIDEBOARD 4 DOOR\n",79,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.80.png","156\n157\nSet in Stockholm’s Östermalm neighbourhood at \nthe former home of ABBA manager Stig Anderson, \nour exhibition at Stockholm Design Week 2018 \nentitled ‘Let’s Pretend This Never Happened,’ \neschewed the typical static display of objects, \nand was instead a place where objects and \nemotions intertwined, where visitors were made \nto feel at home, connected to one another and \nto the space around them. Created by Lisbon-\nbased Studio Astolfi, the centrepiece of the \nexhibition was a performance where two actors, \nFernando Nobre and Vania Rovisco, moved through \nthe home, bringing De La Espada products to \nlife through vignettes of daily life. Or as \nprincipal of Studio Astolfi, Joana Astolfi \ndescribes it, “We wanted to bring the public \ncloser to the pieces. To make them experience \nfurniture in a sensorial and interactive way, \nencouraging them to engage with every piece. \nThe public is taken on an unexpected journey of \nemotions, surprises and sensations.”\n053 CLASSON TALL CHEST\n",80,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.81.png","054 GATES SOFA\n",81,{"image":332,"text":333,"number":334},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.82.png","161\nUpon arrival, guests swapped their shoes for \na pair of slippers and padded through the \napartment, exploring as they wished. Some sat \non sofas, some opened drawers, others just \nstood and absorbed the setting. Fourteen new \nfurniture pieces from De La Espada design \npartners including Matthew Hilton, Luca \nNichetto, Neri&Hu and Jason Miller furnished \nthe home, met by carefully chosen accessories \nincluding rugs by Kasthall, bed linen by Volga \nLinen and lighting by Roll & Hill. Walls were \nadorned only with natural canvases with simple \nblack text bearing the names of the paintings \nthat once stood there. \n",82,{"image":336,"text":337,"number":338},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.83.png","784 SOLO DESK\n",83,{"image":340,"text":341,"number":342},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.84.png","164\n165\nVisitors were encouraged to move freely around \nthe apartment, following the actors, choosing \ntheir vantage point, and in scenes where the \nactors inhabited different rooms, even choosing \nwhich character to follow. Presented as twelve \nscenes in two acts, the performance charted \nthe relationship of the protagonists, from the \nearly days of romantic love, through conflict, \nthen resolution. Guests were an integral part \nof the performance, sharing wine and jamón \nibérico with the characters, singing along \nto songs joyously belted out by Fernando, \nscrambling to grab the last chair in a game of \nmusical chairs, and piling up on a sofa like \nfamily guessing the names of the films shown \nin clips on an antique projector.  All shared \nin the joy and the pain of the characters, \nevery moment closing the gaps between everyone \ninvolved. In the final scene, everyone was \ninvited to select an object of meaning from a \nleather suitcase, and place it into Neri&Hu’s \nSolo Vitrine, together creating a cabinet of \ncuriosities. Many were teary-eyed, with hearts \nopen to the humanity in one another, and their \nown memories conjured by the performance.\n",84,{"image":344,"text":345,"number":346},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.85.png","408 TAVLI DINING TABLE, 406 SAIA DINING CHAIR\n",85,{"image":348,"text":349,"number":350},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.86.png","168\n787 SOLO BED\n",86,{"image":352,"text":15,"number":353},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.87.png",87,{"image":355,"text":356,"number":357},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.88.png","172\n173\n“New furniture and a very emotional art \nperformance by De La Espada. The most \ninteresting, poetic and touching I’ve \nexperienced in connection with a furniture \nlaunch!” \nCharlotte Ravnholt, Editor of Bo Bedre\n“The experience, by its conclusion, had a \nnear-magical effect: Even the most uptight, \njaded journalists and style-setters... were, \nby the show’s end, completely entranced, eager \nto grasp hands with strangers and dance to \nblasting music or stroke the grain of a table \nas instructed by the performance’s charismatic \nactor and de facto master of ceremonies,”\n Architectural Digest\nMore information about the exhibition can be found in the \ndedicated book and in films on Vimeo.\nhttps:\u002F\u002Fvimeo.com\u002Fdelaespada\n",88,{"image":359,"text":360,"number":361},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.89.png","Paulo is the production manager at the De La Espada \nfactory, organising every stage of manufacture from the \nraw materials through to final assembly. He applies his \ndeep understanding of woodcraft and detailed knowledge of \nevery machine and process in our facility to constantly \nimprove efficiency and productivity. His management role is \nsupported by his work programming the CAM (Computer Aided \nManufacturing) which defines the tools and processes that \nmust be performed by the CNC (Computerised Numeric Control) \nmachinery. The insight gained by this programming work \nallows him to optimise even our most advanced manufacturing \nmethods.\nManaging an entire team of people and their work expectations \nrequires a sharp focus on detail as well as the bigger \npicture, profound knowledge of carpentry, and a personable \napproach to communication as he coordinates efforts with \ncraftspeople in every department. Though the tasks are \nchallenging and varied, Paulo is well-equipped to deliver \nresults due as much to his warm personality as to his \nextensive experience. He has been an integral part of \nthe factory for 27 years, and has forged many friendships \nduring that time — friendships which extend beyond the \nfactory doors to weekends at the gym, or a catch up while \nhelping each other with home improvements.\nOUR CRAFTSPEOPLE\nProduction: Paulo\nOUR CRAFTSPEOPLE\nNatalina is part of the general assembly team at the \nDe La Espada factory. Her work involves marrying the \nindividual parts and sub-assemblies to create the final \ntimber forms before they are sent to the sanding team. This \nincludes finessing joinery details and component profiles, \nas well as connecting wood joinery and hardware. She also \nperforms precise hand-adjustments which are particularly \ndemanding on drawers and doors where shadow gaps must be \nuniform throughout. Natalina enjoys the variety her job \noffers: with every piece made to order, her specific tasks \ndiffer daily. \nWhen she’s not working, she tends her own plot of land \nwhere she grows lettuce, cabbage and fruit. She is quick \nto share the harvest with her neighbours who happily \noffer their own crops in return.\nGeneral Assembly: Natalina\n174\n175\n",89,{"image":363,"text":364,"number":365},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.90.png","DESIGNERS\nNERI&HU\nNeri&Hu is an inter-disciplinary award-\nwinning architectural design practice \nbased in Shanghai, China, with an \nadditional office in London. \nWith their product line, ‘neri&hu’ \nthey \nseek \nalternatives \nto \nthe \nnormative, questioning the potential \nin ‘Chinese design.’ neri&hu is the \nreinterpretation of the beauty in the \nraw material, changing perceptions \nthrough what is revealed, examining \nhistory and its path, or capturing an \nordinary scene in a snapshot.\nLUCA NICHETTO\nLuca Nichetto is an acclaimed Italian \ndesigner with offices in Venice and \nStockholm. His work is informed by \nhis collaborative approach to design \nand deep respect for craft across all \ndisciplines.\nFor his product line, ‘Nichetto’ he \ncreates products with personality, \ndistinction \nand \nversatility. \nThe \npioneering \nyet \nclassical \nforms \nhighlight the unique characteristics \nof the premium materials and superior \ncraft.\n177\n176\n",90,{"image":367,"text":368,"number":369},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.91.png","STUDIOILSE\nIlse Crawford is a designer, academic \nand creative director with a simple \nmission to put human needs and desires \nat the centre of all that she does. As \nfounder of Studioilse, together with \nher multi-disciplinary, London-based \nteam, she brings her philosophy to life. \nThis means creating environments where \nhumans feel comfortable, public spaces \nthat make people feel at home and homes \nthat are habitable and make sense for \nthe people who live in them. It means \ndesigning furniture and products that \nsupport and enhance human behaviour \nand actions in everyday life. It means \nrestoring the human balance in brands \nand businesses that have lost their \nway.\nMATTHEW HILTON\nMatthew Hilton is an esteemed British \ndesigner whose eponymous product line \nexpresses the technical knowledge and \nclarity of vision gained over three \ndecades in the industry. \nUtilising \nrobust \nmaterials \nthat \nimprove with the mark of age, Matthew \nHilton creates timelessly beautiful, \nexceedingly functional products that \nare rigorously engineered. Every view \nof a design is valued equally, every \naspect carefully considered, allowing \nfor a sense of appreciation over time \nas new details are discovered.\nAUTOBAN\nInternationally renowned, Istanbul-\nbased, \nmulti-disciplinary \ndesign \nstudio, \nAutoban \ncreates \nstatement \nfurniture to further the story told \nthrough \ntheir \narchitecture \nand \ninteriors. \nEach product is informed by a uniquely \nspace-centric approach, blending wit \nwith sophistication, and minimal forms \nwith rich materials. \nJASON MILLER\nJason \nMiller \nis \nan \nacclaimed \nAmerican industrial designer based \nin Brooklyn, New York, where he runs \nboth Jason Miller Studio and high-\nend contemporary lighting brand Roll \n& \nHill. \nMiller \ncreates \nlighting, \nfurniture, accessories and interiors \ninspired \nby \ncontemporary \nAmerican \nculture, elevating the everyday though \nrich materials and reimagined forms.\nIntricately detailed, Jason Miller \nfurniture transcends time in forms \nthat capture the sumptuous qualities \nof a traditional American aesthetic in \na more modern design language.\n178\n179\n",91,{"image":371,"text":372,"number":373},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.92.png","181\nPRODUCT INDEX\nOur product range reflects the diversity of \nour creative partners and the unity of shared \nvalues, materials, and craft, allowing you \nto easily combine products to create your own \nunique interior.\n",92,{"image":375,"text":376,"number":377},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.93.png","763S SHAKER CHAIR\nUPHOLSTERED BY NERI&HU\n750 SOLO DINING CHAIR\nBY NERI&HU\n780S CAPO DINING ARMCHAIR \nBY NERI&HU\n763 SHAKER DINING CHAIR\nBY NERI&HU\n753 DUET CHAIR\nBY NERI&HU\n753S DUET CHAIR\nUPHOLSTERED BY NERI&HU\n780 CAPO DINING CHAIR \nBY NERI&HU\n107 VIVIEN DINING CHAIR\nBY NICHETTO\n388 PORTO CHAIR\nBY MATTHEW HILTON\n384 MARY’S CHAIR\nBY MATTHEW HILTON\n362 ‘HASTOE’ WINDSOR CHAIR\nBY MATTHEW HILTON\n361 ‘IBSTONE’ WINDSOR CHAIR BY \nMATTHEW HILTON\n406 SAIA CHAIR \nBY MATTHEW HILTON\n344 FIN DINING CHAIR\nBY MATTHEW HILTON\n410 ANDO CHAIR\nBY MATTHEW HILTON\n349G MANTA DINING CHAIR\nBY MATTHEW HILTON\n343 COLOMBO DINING ARMCHAIR\nBY MATTHEW HILTON\n050 ELLIOT DINING CHAIR \nBY JASON MILLER\n183\n",93,{"image":379,"text":380,"number":381},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.94.png","781S CAPO LOUNGE ARMCHAIR\nBY NERI&HU\n781 CAPO LOUNGE CHAIR\nBY NERI&HU\n270 THRONE LOUNGE CHAIR RATTAN\nBY AUTOBAN\n269 THRONE LOUNGE CHAIR\nUPHOLSTERY BY AUTOBAN\n389 MIRA LOUNGE CHAIR\nBY MATTHEW HILTON\n360 ‘BURNHAM’ WINDSOR CHAIR\nBY MATTHEW HILTON\n359 ‘KIMBLE’ WINDSOR CHAIR\nBY MATTHEW HILTON\n340 LOW LOUNGE CHAIR\nBY MATTHEW HILTON\n407 SAIA LOUNGE CHAIR\nBY MATTHEW HILTON\n227S BOX ARMCHAIR\nBY AUTOBAN\n386S ARMSTRONG ARMCHAIR\nBY MATTHEW HILTON\n105 BLANCHE BERGERE\nBY NICHETTO\n102S STANLEY ARMCHAIR\nBY NICHETTO\n101 ELYSIA LOUNGE CHAIR\nBY NICHETTO\n751 SOLO LOUNGE CHAIR\nBY NERI&HU\n271\u002F272  THRONE DINING CHAIR \nBY AUTOBAN\n219 DEER CHAIR\nBY AUTOBAN\n249 BUTTERFLY CHAIR\nBY AUTOBAN\n219S DEER ARMCHAIR\nBY AUTOBAN\n750P\u002FT SOLO BAR STOOL\nBY NERI&HU\n780P\u002FT CAPO BAR STOOL\nBY NERI&HU\n185\n",94,{"image":383,"text":384,"number":385},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.95.png","272P\u002FT THRONE BAR STOOL RATTAN\nBY AUTOBAN\n271P\u002FT THRONE BAR STOOL\nUPHOLSTERY BY AUTOBAN\n219P\u002FT DEER BAR STOOL\nBY AUTOBAN\n219SP\u002FST DEER BAR STOOL WITH \nARMS BY AUTOBAN\n770 COMMUNE STOOL\nBY NERI&HU\n761T LIANOU STOOL\nBY NERI&HU\n440 LOW STOOL\nBY STUDIOILSE\n441S STOOL UPHOLSTERED \nBY STUDIOILSE\n441 STOOL\nBY STUDIOILSE\n440S LOW STOOL UPHOLSTERED BY \nSTUDIOILSE\n771 COMMUNE BENCH\nBY NERI&HU\n750B SOLO BENCH\nBY NERI&HU\n794 SOLO DAYBED\nBY NERI&HU\n763B SHAKER BENCH\nBY NERI&HU\n448 TWO-SEATER LOW BENCH\nBY STUDIOILSE\n442 LOW BENCH\nBY STUDIOILSE\n449 TWO-SEATER BENCH\nBY STUDIOILSE\n445 LOW SETTLE \nBY STUDIOILSE\n249P\u002FT BUTTERFLY BAR STOOL\nBY AUTOBAN\n406T SAIA BAR STOOL\nBY MATTHEW HILTON\n406P SAIA BREAKFAST BAR STOOL\nBY MATTHEW HILTON\n187\n",95,{"image":387,"text":388,"number":389},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.96.png","340O LOW OTTOMAN\nBY MATTHEW HILTON\n751O SOLO OTTOMAN\nBY NERI&HU\n116 STEVE POUF\nBY NICHETTO\n754S TRIO SIDE TABLE\nBY NERI&HU\n389O MIRA OTTOMAN\nBY MATTHEW HILTON\n101S NINO OTTOMAN\nBY NICHETTO\n120 KIM BENCH\nBY NICHETTO\n443 BENCH\nBY STUDIOILSE\n446 SETTLE\nBY STUDIOILSE\n450 TWO-SEATER BENCH WITH BACK\nBY STUDIOILSE\n444 BENCH WITH BACK\nBY STUDIOILSE\n451 TWO-SEATER LOW SETTLE\nBY STUDIOILSE\n754SB TRIO SIDE TABLE BRASS\nBY NERI&HU\n118 KIM SIDE TABLE\nBY NICHETTO\n754SM TRIO SIDE TABLE MARBLE\nBY NERI&HU\n103S LAUREL SIDE TABLE\nBY NICHETTO\n754SP TRIO SIDE TABLE COPPER\nBY NERI&HU\n459 SIDEKICKS HEIGHT \nADJUSTABLE TABLE BY STUDIOILSE\n456 SIDEKICKS OCCASIONAL TABLE \nBY STUDIOILSE\n790 HANDLE SIDE TABLE BRASS \nBY NERI&HU\n385 MARY’S SIDE TABLE\nBY MATTHEW HILTON\n119 KIM COFFEE TABLE\nBY NICHETTO\n761M ZHUZI TABLE\nBY NERI&HU\n409 CARLO SIDE TABLE\nBY MATTHEW HILTON\n189\n",96,{"image":391,"text":392,"number":393},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.97.png","754M TRIO ROUND COFFEE TABLE\nBY NERI&HU\n754MM TRIO COFFEE TABLE MARBLE\nBY NERI&HU\n345 I-BEAM SIDE TABLE\nBY MATTHEW HILTON\n373 MAIA\nBY MATTHEW HILTON\n772 COMMUNE COFFEE TABLE\nBY NERI&HU\n754O TRIO OVAL COFFEE TABLE\nBY NERI&HU\n103L LAUREL COFFEE TABLE\nBY NICHETTO\n387 ARMSTRONG COFFEE TABLE\nBY MATTHEW HILTON\n381 HORIZON COFFEE TABLE\nBY MATTHEW HILTON\n456M SIDEKICKS COFFEE TABLE\nBY STUDIOILSE\n754C TRIO CONSOLE TABLE\nBY NERI&HU\n783 SOLO OBLONG TABLE\nBY NERI&HU\n752R SOLO ROUND DINING TABLE\nBY NERI&HU\n752 SOLO TABLE\nBY NERI&HU\n773 COMMUNE DINING TABLE\nBY NERI&HU\n764T SHAKER TABLE\nTIMBER BY NERI&HU\n764M SHAKER TABLE \nMARBLE BY NERI&HU\n764R SHAKER ROUND TABLE\nBY NERI&HU\n191\n",97,{"image":395,"text":396,"number":397},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.98.png","762 STRUCTURE TABLE\nBY NERI&HU\n108R MARLON ROUND TABLE\nBY NICHETTO\n395 OVERTON TABLE\nBY MATTHEW HILTON\n405 REFECTORY EXTENDING TABLE\nBY MATTHEW HILTON\n394F LIGHT OVAL TABLE\nBY MATTHEW HILTON\n393F LIGHT RECTANGULAR TABLE\nBY MATTHEW HILTON\n408 TAVLI TABLE\nBY MATTHEW HILTON\n341E LIGHT EXTENDING TABLE\nBY MATTHEW HILTON\n108 MARLON RECTANGULAR TABLE\nBY NICHETTO\n051 ELLIOT OBLONG TABLE\nBY JASON MILLER\n355 MARS ROUND TABLE\nBY MATTHEW HILTON\n458 SIDEKICKS SMALL DINING \nTABLE BY STUDIOILSE\n056 ELLIOT RECTANGULAR TABLE\nBY JASON MILLER\n193\n",98,{"image":399,"text":400,"number":401},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.99.png","106 HAROLD DESK\nBY NICHETTO\n365 ORSON DESK\nBY MATTHEW HILTON\n777 DRAPE DESK\nBY NERI&HU\n784 SOLO DESK\nBY NERI&HU\n365S ORSON COMPACT DESK\nBY MATTHEW HILTON\n755 PLATFORM SOFA\nBY NERI&HU\n454R\u002FL COMPANIONS WRITING DESK\nBY STUDIOILSE\n788 SOFA EIGHT\nBY NERI&HU\n756 TRAY DESK\nBY NERI&HU\n452E TOGETHER EXTENDING TABLE\nBY STUDIOILSE\n452F TOGETHER FIXED TABLE\nBY STUDIOILSE\n766 FRAME SOFA SYSTEM\nBY NERI&HU\n750L SOLO SOFA\nBY NERI&HU\n364 WELLES TABLE\nBY MATTHEW HILON\n060 ELLIOT DESK \u002F DRESSING TABLE\nBY JASON MILLER\n195\n",99,{"image":403,"text":404,"number":405},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.100.png","386 ARMSTRONG SOFA\nBY MATTHEW HILTON\n227 BOX SOFA\nBY AUTOBAN\n403S\u002FL PLANALTO SOFA\nBY MATTHEW HILTON\n109Q MITCH CABINET\nBY NICHETTO\n759S TRUNK LOW CABINET\nBY NERI&HU\n759L TRUNK TALL CABINET\nBY NERI&HU\n109S MITCH LOW CABINET\nBY NICHETTO\n358LM DIFFERENT TRAINS CABINET WIDE\u002F2 TIER \nBY MATTHEW HILTON\n247 REEDY BOOKCASE\nBY AUTOBAN\n217 LADDER BOOKCASE\nBY AUTOBAN\n358M DIFFERENT TRAINS CABINET\nBY MATTHEW HILTON\n358L DIFFERENT TRAINS CABINET \nBY MATTHEW HILTON\n054 GATES SOFA\nBY JASON MILLER\n122 BELLE REEVE SOFA SYSTEM\nBY NICHETTO\n102 STANLEY SOFA\nBY NICHETTO\n391 HEPBURN MODULAR SOFA\nBY MATTHEW HILTON\n350F HEPBURN FIXED SOFA\nBY MATTHEW HILTON\n401 MCQUEEN SOFA\nBY MATTHEW HILTON\n197\n",100,{"image":407,"text":408,"number":409},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.101.png","397 BRETTON BEDSIDE\nBY MATTHEW HILTON\n379 MCQUEEN BEDSIDE CHEST\nBY MATTHEW HILTON\n380 MCQUEEN LOW CHEST\nBY MATTHEW HILTON\n402R\u002FL MCQUEEN BEDSIDE\nBY MATTHEW HILTON\n378 MCQUEEN 8 DRAWER CHEST\nBY MATTHEW HILTON\n368 MCQUEEN LARGE CHEST\nBY MATTHEW HILTON\n785 SOLO CABINET\nBY NERI&HU\n052 CLASSON SIDEBOARD\nBY JASON MILLER\n063 CLASSON BEDSIDE CHEST\nBY JASON MILLER\n453M COMPANIONS BEDSIDE\nBY STUDIOILSE\n453S COMPANIONS LOW BEDSIDE\nBY STUDIOILSE\n369 MCQUEEN TALL CHEST\nBY MATTHEW HILTON\n789 SOLO VITRINE\nBY NERI&HU\n053 CLASSON TALL CHEST\nBY JASON MILLER\n053S CLASSON LOW CHEST\nBY JASON MILLER\n199\n",101,{"image":411,"text":412,"number":413},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.102.png","400 MCQUEEN BED\nBY MATTHEW HILTON\n351 HEPBURN BED\nBY MATTHEW HILTON\n396 BRETTON BED\nBY MATTHEW HILTON\n061 CARLTON BED\nBY JASON MILLER\n110 DUBOIS BED\nBY NICHETTO\n113 LOW DUBOIS BED\nBY NICHETTO\n112 LOW DUBOIS BED\nBY NICHETTO\n758 PLATFORM BED\nBY NERI&HU\n265 SUITE BED\nBY AUTOBAN\n201\n",102,{"image":415,"text":416,"number":417},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.103.png","370 LARGE STORAGE TRAY\nBY MATTHEW HILTON\n371 SMALL STORAGE TRAY\nBY MATTHEW HILTON\n372 SMALL PENCIL HOLDER\nBY MATTHEW HILTON\n769 TRAY FOR FRAME SOFA\nBY NERI&HU\n793 PENCIL TRAY FOR SOLO DESK\nBY NERI&HU\n776 SHAKER BACK CUSHION\nBY NERI&HU\n760 LATTICE\nBY NERI&HU\n757 EXTEND MIRRORS\nBY NERI&HU\n392LR CONISTON MIRROR \nBY MATTHEW HILTON\n392LV CONISTON MIRROR \nBY MATTHEW HILTON\n455 COMPANIONS BED\nBY STUDIOILSE\n768 FRAME BED WITH ARMS\nBY NERI&HU\n765 FRAME BED\nBY NERI&HU\n787 SOLO BED\nBY NERI&HU\n782 CAPO BED\nBY NERI&HU\n203\n",103,{"image":419,"text":420,"number":421},"\u002Fmedia\u002Fimages\u002Fbb\u002F30b118ee0f05bbdb94a7537544112c-28fe2f8a08.104.png","204\n205\nTIMBER\nThere is nothing quite like solid wood: \nreflecting the life of the tree, every plank \nhas an individual beauty granted by its unique \ncolours and grain patterns; it allows for the \nuse of joinery as handsome as it is secure; it \nhas a natural tactility and familiarity that \nconnect to us in a true way; and it allows \nfor the use of finishes that invite you to get \ninvolved in its care. \nWe exclusively use timber from sustainable \nfarms. This not only makes environmental sense, \nthe trees methodically replanted, but aesthetic \nsense as well: the regular pruning that occurs \non these farms creates the highest quality \nplanks with greater strength and fewer knots. \nOur finishes are carefully chosen to embrace and \nenhance the characteristics of the material, \nwhile offering a broad range of aesthetic \npossibilities.\nOur oil finishes reveal the inherent colour and \ngrain variations in the timber, whilst providing \na renewable surface for enduring beauty.\nOur oxidised timber employs an oxidising \nsolution that reacts with the tannin in the \nwood, creating a beautiful patina. This is \nfollowed by a clear, matte lacquer.\nOur stains and paints are available in a choice \nof ten colours. Stains are sealed with a clear \nmatte lacquer to maintain the colour whilst \npreserving the silky touch. 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