[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-de-la-espada-look-book-vl-2-2020":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":342},{"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":337,"matched_pages":338,"match_count":339,"two_pages":340,"show_text":341},25063,"Look Book Vl 2 2020","de-la-espada-look-book-vl-2-2020","\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Fe9\u002F32496c344f30ae4d210cb97b5a4f8e-28fe2ccaf6.pdf","De La Espada",2084,"de-la-espada","23.4 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,64,68,72,76,80,84,88,92,96,100,104,108,111,115,119,123,127,131,135,139,143,147,151,155,159,163,167,171,175,179,183,187,191,195,199,203,206,210,214,218,222,226,230,233,237,241,245,249,252,255,259,263,267,271,275,279,283,287,291,295,299,303,307,311,315,319,323,327,331,335],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.2.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\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.3.png","CONTENTS\nDe La Espada  \n004\nDesigners \n010\nOn Location: Santa Clara 1728 \n014\nA Conversation with Manuel Aires Mateus \n058\nA Conversation with Matthew Hilton \n064\nOur Craftspeople \n068\nOn Location: Red House \n070\nAt Home with De La Espada in Porto \n122\nDe La Espada Woodcraft \n124\nProduct Index \n129\nTimber \n153\nCredits  \n158\nContact \n160\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.4.png","5\nEmotion\nThe human being is at the centre of everything \nwe do. We have a strong belief in the power \nof design to transform people’s lives, and \nour products are created with this in mind: \nemotional connection is valued equally to \nfunction. This manifests in the comfort, \ntactility, detailing and endurance of our \nproducts, informed by the passion of those \nwho work to create them. From the designer to \nthe craftsperson, there is pride in work well \ndone, in rising to challenges and getting every \ndetail right. De La Espada products are imbued \nwith warmth and meaning brought by the hands \nthat bear them.\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.5.png","6\nBalance\nWe believe balance is key to creating \nmeaningful products. Our dedicated factory \nin Portugal draws from the strengths of both \nadvanced technology and traditional handcraft, \nuniting industrialised processes with small-\nscale production. In design and development, \nour allegiance to function is balanced with an \nappreciation for the decorative, our research-\nbased approach to problem solving enhanced by \ncreative insight. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.6.png","9\nCollaboration\nDe La Espada work closely with a small number \nof designers, forming significant and enduring \npartnerships. These collaborations combine \nleading design with the highest calibre \nEuropean craftsmanship. A designer’s vision \nextends far beyond just a chair or a bed; here, \nthey conceive furniture for an entire home: \na place to eat, rest, sleep and work. While \neach studio has a unique creative narrative, \nthere is a common thread that runs through all \nDe La Espada products, allowing for flexible \ncombinations to achieve individualised interior \nspaces.\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.7.png","11\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.\nDESIGNERS\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.\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.8.png","12\n13\nSTUDIOILSE\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\nA collaboration between Jason Miller \nand De La Espada is coming soon. \nJason \nMiller \nis \na \nBrooklyn-based \ndesigner and the founder of Roll & \nHill. Born in New York and raised in \nDarien, Connecticut, Jason’s suburban \nupbringing \nheavily \ninfluenced \nhis \nearly, more conceptual pieces and \ncontinues \nto \ninform \nthe \nelegant, \nhistorically rich work that has become \nhis signature. Today, Jason runs both \nJason Miller Studio and Roll & Hill \nfrom his headquarters in Sunset Park, \nBrooklyn.\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.9.png","14\n361 ‘IBSTONE’ WINDSOR CHAIR\nSANTA CLARA 1728\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.10.png","17\nSanta Clara 1728\nSanta Clara 1728 is an intimate six-suite hotel \nhoused in an 18th century building in the old \ncultural quarter of Lisbon. This warm, family-\nstyle accommodation was created by hotelier \nJoão Rodrigues, with design by award-winning \narchitect, Manuel Aires Mateus. \nGenerous windows allow natural light to spill \nover the interior spaces, and provide clear \nviews of the Pantheon and Tagus River. Inside, \nan abundant use of wood and stone brings a \nsensual tactility to the space, while the \ndesign harmoniously combines original features, \nincluding stairs and archways, with sensitively \napplied modern elements.\nThe hotel feels like a traditional Lisbon \nhouse, filled with the natural rhythm and warmth \nof family life. Guests are invited to relax in \nthe private secluded garden or gather around \nthe communal dining table to enjoy home-cooked \nmeals made from local produce. \nThe serenity of this modern architecture, \nrooted in tradition yet transported to current \ntimes, with a reverence for nature, history \nand place, is in keeping with the De La \nEspada design ethos. Authentic materiality \nand timeless design come together in a place \ndesigned for life and togetherness.\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.11.png","18\n19\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.12.png","20\n400 MCQUEEN BED, 379 MCQUEEN BEDSIDE CHEST\n",12,{"image":62,"text":15,"number":63},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.13.png",13,{"image":65,"text":66,"number":67},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.14.png","25\n",14,{"image":69,"text":70,"number":71},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.15.png","27\n",15,{"image":73,"text":74,"number":75},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.16.png","29\n28\n",16,{"image":77,"text":78,"number":79},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.17.png","364 WELLES TABLE, 349S UPHOLSTERED MANTA CHAIR\n",17,{"image":81,"text":82,"number":83},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.18.png","33\n",18,{"image":85,"text":86,"number":87},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.19.png","34\n",19,{"image":89,"text":90,"number":91},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.20.png","340 LOW LOUNGE CHAIR, 340O LOW OTTOMAN, 385 MARY’S SIDE TABLE\n381L HORIZON COFFEE TABLE, 401 MCQUEEN SOFA \n",20,{"image":93,"text":94,"number":95},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.21.png","38\n39\n385 MARY’S SIDE TABLE\n",21,{"image":97,"text":98,"number":99},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.22.png","40\n381L HORIZON COFFEE TABLE\nRIGHT: 340 LOW LOUNGE CHAIR, 340O LOW OTTOMAN, \n385 MARY’S SIDE TABLE\n",22,{"image":101,"text":102,"number":103},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.23.png","43\n343 COLOMBO DINING ARMCHAIR\n",23,{"image":105,"text":106,"number":107},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.24.png","388 PORTO CHAIR, 358LS DIFFERENT TRAINS CABINET \n362 ‘HASTOE’ WINDSOR CHAIR, 365 ORSON DESK\n",24,{"image":109,"text":15,"number":110},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.25.png",25,{"image":112,"text":113,"number":114},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.26.png","48\n49\n370 LARGE STORAGE TRAY, 371 SMALL STORAGE TRAY FOR ORSON DESK\n",26,{"image":116,"text":117,"number":118},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.27.png","50\n358LS DIFFERENT TRAINS CABINET \n",27,{"image":120,"text":121,"number":122},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.28.png","52\n53\n",28,{"image":124,"text":125,"number":126},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.29.png","55\n",29,{"image":128,"text":129,"number":130},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.30.png","56\n57\n",30,{"image":132,"text":133,"number":134},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.31.png","58\n59\n“Architecture is about life. It’s about all the possibilities of \nlife. And everything about life could be connected to architecture.”\nthree dimensions, [but] in four dimensions. \nAnd it’s very important to understand that \nyou are never static in the space…when you \ndesign a project you have to understand \nthat you are going to pass from one space \nto another so it means that you’re not going \nto only design each one of the spaces, but \nalso the relationship between the spaces. \nAnd movement will make you perceive the \nspaces in different ways.”\nManuel has an ongoing relationship with \nhotelier João Rodrigues, which has given \nbirth to a number of holiday homes that \ninteract with the landscape, reflect the \nlocal vernacular, and provide unique, \nsensual experiences. “I have a very \nclose relationship with João. It is very \nimportant to work with a client, this \ndialogue to establish with a client, and \nwith them — it’s not only João but also \nhis wife [Andreia] — we have these kind \nof dialogues where we really work on the \nproblem until it is very clear what is \nnecessary to do, and then we do. It is \nalso because we design not for, let’s say, \na permanent use, it’s always for this \ntouristic use. There is a kind of freedom \nin a way in design that it is also nice to \nhave an experience.”\nDe \nLa \nEspada \nhad \nthe \npleasure \nof \nphotographing \nour \nfurniture \nat \ntwo \nlocations designed by Manuel Aires Mateus \nfor João Rodrigues: Casa No Tempo, shown \nin the first volume of our lookbook; and \nSanta Clara 1728, featured in this edition.\nspaces are linked through materiality \nand cleverly designed apertures without \ncompromising on privacy. The surrounding \nlandscape is seen as integral to the \nproject: the topography may be manipulated \nto protect a building, create entrances at \ndifferent levels, or increase privacy, yet \nthis is so thoughtfully executed as to be \ninvisible, creating the effect of having \nalways been that way.\n“What we like to think is that each \nproject is unique. So we like to really \nstart the project with a completely open \nmind, a completely free way,” Manuel \nexplains. “Our central point in all of \nthe projects is the way that people are \ngoing to live. It’s always about this idea \nof how people could feel in these spaces \nmore than, let’s say, image.  So it’s also \nthe way you touch, the colour, the smell, \nthe memories that you can achieve and the \ncommon memories that we all have about \nthis material. We are interested in the \nway you can feel the spaces, not only in \na direct way, as a reaction, but also as a \nkind of emotional way because we wanted to \nalways establish a kind of relation where \nyour memories became part of the way you \nsee.” He continues, “We very often use \nvery simple shapes where they have a way \nof communicating with everybody the same \nway. Or we use some details that everybody \nunderstand[s] but maybe we’ll use it in \nanother way.”\nManuel says movement is essential to the \nlife of a building: “The physical reality \nin architecture, they’re not perceived in \nWhen Manuel Aires Mateus talks about \narchitecture it sounds like poetry. He \ntalks about memory, the senses, movement. \nIndeed his structures look like poetry: \nat once universal and specific, familiar \nand completely new, striking the heart of \nhuman perception. It is no surprise then \nthat he spends much of his time reading \nliterature and studying art: “I’m always very \ninterested in everything that is cultural. \nI read poetry…or I see movies…I like very \nmuch some sculptors or some painters that \nwe, in fact, use to understand experience \nand emotions. And we like the way they \ntranslate emotions and the way they could \nmake things going into a limit.”\nLisbon-based \narchitects \nand \nbrothers, \nManuel and Francisco Aires Mateus have won \nnumerous awards for their work, including \nbeing shortlisted for the Mies van der Rohe \nAward several times. They have separate \noffices yet often consult one another on \nprojects. As Manuel describes it, “Sometimes \nwe do projects together, sometimes we share \nthe first phases of a project, or sometimes \nwe do different projects. We have a kind of \ncommon research so that is why we consider \nourselves as a group.” \nTaking a holistic approach to architecture \nthat honours existing structures, land, and \nhistory, Aires Mateus work to sensitively \nmanipulate, integrate or update. Their \nwork is timeless: bold and innovative \nyet connected to the past. Playing with \nvolume and void, light and shadow, they \narticulate space and movement, seclusion \nand connection. Interior and exterior \nA CONVERSATION WITH MANUEL AIRES MATEUS\n",31,{"image":136,"text":137,"number":138},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.32.png","60\n61\nCasa No Tempo\n“In Casa No Tempo, it was about \nthis idea to remake an archetype of \na traditional house in the middle \nof the countryside, but more than \nthat was to really…redesign their \nmemories of the property. So our \nintention was really to make that \nproject become very natural on the \nway they use it…but at the same \n[time] the way it belongs to the \nplace, the natural way you see in \nthat area. And the material became, \nof course, the traditional material \nalready made, so we wanted to keep \nthe memories of the time, of the \nbuilding, so all the variety of \nthe wall…we decided to keep this \nirregularity then just add the \nnatural materials. And everything is \nreal. It is something very important. \nIt doesn’t look real, it is real. So \nwhen you look at a ceramic piece it \nis ceramic, and it doesn’t have 1cm, \nit has 10x10 so it’s real; or the \nstone, it’s not 2cm of stone, it’s \nalways more than 9; and the wood is \nwood. So everything is very solid \nin that sense. So it’s always about \ntry[ing] to give all the properties \na material can give. Our idea is \nalways using this reality and trying \nto bring atmosphere through this \nreality.”\nSanta Clara 1728\n“The idea there is to really create \nthe feeling of what could be a \ntraditional Lisbon house even if all \nthe elements that we use are not \ntraditional at all. What was more \nimportant for us was not to design \na common bathroom that we have in \nour memories from our grandmother’s, \nor traditional way of designing \na bathroom, but…to use a kind of \natmosphere that in a novel process \nthe feeling of belonging to the \nsituation, belonging to the scene. \nBut then all the elements, the details \nare \nnot \nnecessarily \ntraditional \nones. But what is interesting is \nthe feeling that you have there, you \nhave the feeling it is a traditional \nhouse from Lisbon.”\n",32,{"image":140,"text":141,"number":142},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.33.png","62\n63\n",33,{"image":144,"text":145,"number":146},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.34.png","64\n“I like the mark of age on things. Things \nyou allow to get a bit worn are much easier \nto live with and I think they gain some \nvalue somehow, just by their being around a \nlong time. Materials play a very important \nrole in this. A material like solid wood \njust gets more beautiful with age. Wood, \nwhen it gets scratched and discoloured, I \nthink it gets better and better.”\nPerhaps it was growing up in the English \nseaside town of Portsmouth, with its mass \nconcrete structures and naval warships \nthat gave Matthew Hilton an appreciation \nfor materials. Raised on a visual diet of \nstrong, resilient structures with texture \nand history ingrained in their every \nturn and crevice, Hilton developed a deep \nconnection to these qualities. He also \nbecame fascinated by the encompassing sea, \nits paradox of powerful weight and delicate \nweightlessness.\nOne of Britain’s most celebrated industrial \ndesigners, Matthew Hilton is a Royal Designer \nfor Industry, an honour shared by only 200 \ndesigners, among them Lucienne Day, Jonathan \nIve, Richard Rogers, and Vivienne Westwood. \nHe was part of the emergent British design \nscene in the 1980s, alongside the likes \nof Jasper Morrison, Terence Woodgate, and \nKonstantin Grcic, who collectively put the \nUK on the international design map.  It is \nillustrious company; Hilton is among the \ngreats who define the visual language of \nour world. Yet, in spite of this, Matthew \nhimself is quiet and self-deprecating, with \na single-minded focus on his work. Design \nis a key form of self-expression for someone \nwho admits, “I don’t communicate very well \nwith words.”\nMatthew Hilton comes from a visual family: \nhis grandfather was a fine artist working \nwith paints, and his mother was an antique \nspecialist. Engaged in the arts from an \nearly age, Hilton has a long-standing \npassion for photography, first capturing the \nworld around him as an adolescent with a \nfixed-lens Box Brownie, and since building \nup a collection of cameras that are “solid, \nwell-made, easy to control, good ergonomics, \nand wear well.” He uses photography to \ndevelop a visual sketchbook that informs \nhis furniture design. \n“I often carry a camera with me, taking \npictures of anything that catches my eye, \ntrying not to edit until I get to a computer. \nThe hidden complexity behind each image \nonly becomes apparent later on. The best \nphotos come from allowing myself to just \nenjoy the process of taking pictures and \nnot get tied up with trying to make clever \nor beautiful images — it is a kind of \nsubconscious operation,” Hilton explains. \nHe keeps a library of images that remind \nhim of what he felt about something, or a \ntexture or quality he responded to: “an \nodd bit of ironwork on a building, or \na bit of chain lying on a ship’s deck.” \nThese visual sketches are reflected in \nthe materials he chooses to use, or the \nfeeling his products evoke. \nMatthew Hilton didn’t always know he wanted \nto be a furniture designer. “I just knew \nthat I liked making things and painting. \nThat’s really what I did for the last \nthree years at school was art.” During \nhis foundation course at art college, he \nfound that his strongest interests were \nin fashion and sculpture — a combination \nthat led a tutor to recommend he study \nfurniture. The link to both fields is clear: \nrespect for the full three-dimensional \nform, the relationship to the human body, \nthe elegant shapes, and the tactility and \nendurance of materials.\nHis design process includes a laborious \nparing down of the form to remove any \nexcess; \nthe \ndesigns \nare \nessential, \nquietly sculptural. “Impossible lightness” \nis a concept he likes to explore as a \nway of creating the feeling of greater \nspaciousness in a room. It also indulges \nhis zeal for problem-solving: “For me \nthe design process is important. I need \nsome kind of structure to grapple with: \nmaterials, \nmanufacturing, \ntrying \nto \npush the CNC machine or the properties \nof timber. Producing something that is \ndifficult to make, difficult to produce, \ndifficult to design, brings much greater \ninterest.”\nAnother interest is paradox: weight and \nweightlessness, complexity and simplicity. \nHe sees this all around him, from the \nseaside of his childhood home, to his \nfavourite architecture and music. “My \nfavourite music is that which I have owned \nfor years, compositions that feel quiet, \nwith complex rhythms and a simple melody. \nThe structure is complex but the final \nresult sounds simple, while the longer \nthe music is in your life, the more you \ndiscover.”\nA CONVERSATION WITH MATTHEW HILTON\n",34,{"image":148,"text":149,"number":150},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.35.png","67\n“The architectural structures that are the \nmost interesting to me are always the ones \nthat have some sort of magical quality about \nthem: they stand without legs or they float \nin the air, thousands of tonnes of concrete \nreduced to a skinny shell.” Inspired by the \narchitecture of the Cathedral of St. Mary \nof the Assumption in San Francisco designed \nby Pietro Belluschi and Pier-Luigi Nervi, \nMatthew Hilton designed Mary’s Chair and \nMary’s Side Table. Moved by the contrast \nof the oppressive weight of the cathedral’s \nconcrete structure and the release of \nthe expansive space within, Hilton aimed \nto capture this paradox of weight and \nweightlessness. \n“McQueen came from a desire to make something \nthat is strong, simple, straightforward, \nkind of pragmatic I suppose, but has \nsomething interesting about it. Quiet but \ninteresting. I wanted to do something \nthat is calm and sophisticated but not \nin a polished way, more…rough, heavy. And \nI want things to be very practical. The \nWelles Table, the Orson Desk, all those \nthings come from the McQueen, from that \ncast leg.”\nThe qualities he appreciates in products \naround him also inform his work: “Whenever \nI think about buying something, I look \nat the whole thing. The things that tell \nme that this is an object that has been \nthought about carefully, those things \njust keep impressing me. I invest a lot \nof time in that and I want that to pay \noff. I think it is very important that if \nsomeone invests in a product, whether just \nthe time investment made to choose it, or \na financial investment, or both, then it \nmust perform well. It must endure. It must \nnot disappoint.” Hilton takes this very \nseriously: his design process includes the \ncareful consideration of every view of a \nproduct, every detail, to allow the end \nuser a sense of appreciation over time as \nnew details are discovered. \nMatthew Hilton enjoys pushing the boundaries \nof solid wood, and in this endeavour has \nfound an able partner in De La Espada. A deep \nunderstanding of wood and a long history \nof working with it allows us to experiment \nthoughtfully and skilfully, striving to reach \nnew limits of possibility. The perennial \nproblem-solver, \nMatthew \nHilton \napplies \nexpertise gained over 30 years specialising \nin furniture to realise his unique creative \nvision. Each collaborator raises the game \nof the other, for furniture that is well-\nconsidered, cleverly engineered, sculptural, \nand destined to become part of the family.\nDifferent Trains cabinet was named after \nSteve Reich’s contemporary composition of \nthe same name, the sliding movement of the \ndoors recalling the fluctuation of sounds.\n",35,{"image":152,"text":153,"number":154},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.36.png","68\n69\nOUR CRAFTSPEOPLE\nDonzilia is in charge of oil and wax \nfinishing at our factory. After receiving \ncomponents that have been laboriously \nsanded to a silky touch, she applies the \noil by hand, using a soft cloth to work \nit into the wood fibres, and around all \ncontours of the many diverse shapes. She \nmust apply the oil in a single, even layer, \nwith no overlap, even on the most complex \nforms. As she works, she checks the quality \nof the wood surface; the oil application \nreveals details of the timber that were \nnot previously visible, including the \nintricacies of the wood grain and colour, \nand any surface irregularities caused \nby sanding. If she notices any issues, \nshe will return the item to the relevant \ndepartment to rectify it. For example, if \nthe orbital sander has marked the timber \nsurface, she will return the item to the \nsanding team to resolve the issue, before \nreapplying the oil.\nAfter oiling, Donzilia passes the piece to \nher assistant, who sprays the wax onto the \nsurface before rubbing it in by hand with a \nsoft cloth, also in an even layer. They have \nfound this distribution of responsibilities \nto be the best way to maximise efficiency.\nDonzilia has an enormous amount of skill \nand knowledge gained over 25 years working \nwith a variety of different finishes. She \nsees the factory as her second home, where \nshe gets along with everyone. It’s easy to \nsee why: her strong work ethic and attention \nto detail are matched by her infectious \nsmile and easy laugh. \nOil and Wax Finishing: Donzilia\nSenhor Euclides, the most senior carpenter \nat the De La Espada factory, is in charge of \nthe assembly department. He brings together \ncomponents and sub-assemblies to create \nthe recognisable forms of the final pieces. \nHis work is varied, and includes gluing, \njoinery, the application of specialised \nmaterials, and precise hand-adjustments. \nHe inspects the products as he works, \nrectifying any issues he may find. Once his \nwork is complete, he passes the assembly \non to the sanding team adjacent to his \nstation.\nWith 30 years of experience, Senhor Euclides \nworks with a calm confidence and engaged \nfocus. The greatest challenge of his job \nis also what he finds the most enjoyable: \nOUR CRAFTSPEOPLE\nthe problem solving that is required for \nthe development of new products. He works \nclosely with the product development \nteam to ensure every piece reaches its \nfull potential. This includes not only \nnew products, but also the continual \noptimisation of existing ones.\nWhen he’s not working, he enjoys travelling, \na bug planted in his 20s when he worked as \na fisherman in countries including Norway, \nCanada, and South Africa. He often travels \nto the US to visit his sons in New Jersey, \nwho relish the daily feasts of Portuguese \nfood these visits bring. Central on the \nmenu: fish, of course.\nGeneral Assembly: Senhor Euclides\n",36,{"image":156,"text":157,"number":158},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.37.png","771 COMMUNE BENCH, 770 COMMUNE STOOL\nRED HOUSE\n",37,{"image":160,"text":161,"number":162},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.38.png","73\nRed House\nIn the village of Azeitão, south of Lisbon, lies \nRed House, a single-family residence designed by \nEXTRASTUDIO with landscape by Oficina dos Jardins. \nHoused in a former winery, the design breathes new \nlife into the existing structure while preserving \nthe land’s orange orchard. Though two façades \nare windowless, the house connects interior \nand exterior spaces through quietly effective \ninterventions: a courtyard that brings light \ninto the darkest part of the house, and fourteen \nmetres of sliding windows opening onto the garden. \nReflected onto the mirrored walls inside, the garden \nis present indoors even when the windows are \nclosed. A reflection pool tempts an outdoor swim \namong the fragrant fruit trees.\nThis contemporary home makes use of all original \nmaterials: the old roof tiles were reused, stone \nwas transformed into sills, and the timber \nroof structure became an exterior deck. The \nred exterior, for which the house is named, was \nachieved by adding a natural red pigment to the \nmortar, allowing the house to age gradually without \never requiring a coat of paint. The colour reacts \nto the environment, becoming lighter or darker \ndepending on the humidity.\nA perfect companion for De La Espada furniture, \nRed House is sensitive to the passage of time and \nlocality, firmly Portuguese with a universal appeal.\n",38,{"image":164,"text":165,"number":166},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.39.png","74\n75\n",39,{"image":168,"text":169,"number":170},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.40.png","76\n77\n",40,{"image":172,"text":173,"number":174},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.41.png","79\n783 SOLO OBLONG TABLE, 750 SOLO DINING CHAIR\n760 LATTICE\n",41,{"image":176,"text":177,"number":178},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.42.png","80\n81\n",42,{"image":180,"text":181,"number":182},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.43.png","83\n780P CAPO BREAKFAST BAR STOOL\n",43,{"image":184,"text":185,"number":186},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.44.png","84\n",44,{"image":188,"text":189,"number":190},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.45.png","86\n87\n",45,{"image":192,"text":193,"number":194},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.46.png","89\n788 SOFA EIGHT, 761T LIANOU STOOL, 761M ZHUZI TABLE\n",46,{"image":196,"text":197,"number":198},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.47.png","788 SOFA EIGHT, 761M ZHUZI TABLE, 772 COMMUNE COFFEE TABLE, 761T LIANOU STOOL\n",47,{"image":200,"text":201,"number":202},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.48.png","93\n",48,{"image":204,"text":15,"number":205},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.49.png",49,{"image":207,"text":208,"number":209},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.50.png","97\n777 DRAPE DESK, 780S CAPO DINING ARMCHAIR\n",50,{"image":211,"text":212,"number":213},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.51.png","98\n99\n",51,{"image":215,"text":216,"number":217},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.52.png","351 HEPBURN BED, 351T HEPBURN SIDE TABLE\n345 I-BEAM SIDE TABLE, 389 MIRA LOUNGE CHAIR, 389O MIRA OTTOMAN\n",52,{"image":219,"text":220,"number":221},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.53.png","102\n103\n",53,{"image":223,"text":224,"number":225},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.54.png","105\n104\n389 MIRA LOUNGE CHAIR, 345 I-BEAM SIDE TABLE\n392LV CONISTON LARGE RECTANGULAR MIRROR\n",54,{"image":227,"text":228,"number":229},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.55.png","386S ARMSTRONG ARMCHAIR, 383 POLE LIGHT\n386M ARMSTRONG 2-SEATER SOFA, 387 ARMSTRONG COFFEE TABLE\n",55,{"image":231,"text":15,"number":232},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.56.png",56,{"image":234,"text":235,"number":236},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.57.png","110\n111\n",57,{"image":238,"text":239,"number":240},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.58.png","757L EXTEND MIRROR, 770 COMMUNE STOOL\n",58,{"image":242,"text":243,"number":244},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.59.png","114\n115\n",59,{"image":246,"text":247,"number":248},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.60.png","117\nLEFT: 223 PUMPKIN SIDE TABLE. ABOVE: 770 COMMUNE STOOL\n",60,{"image":250,"text":15,"number":251},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.61.png",61,{"image":253,"text":15,"number":254},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.62.png",62,{"image":256,"text":257,"number":258},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.63.png","shops on the street. There is no reception \narea, and no common space, just a key \nthat \ninvites \nvisitors \nfirst \ninto \nan \nentryway and staircase clad in Carrara \nmarble, with walls and doors in pine with \na vertical striped relief, then into the \napartments with flooring made from wide \nboards of local pine heated from below, \nand windows framed by original granite. \nWith a respect for place, each apartment \nis filled with items of Portuguese origin, \nfrom the eclectic mix of cups and plates \nin the kitchen cupboards, to the brightly \npackaged Claus Porto toiletries in the \nmarble-clad bathroom, and the welcoming \nbottle of port on the dining table.\nBreathing new life into old Portuguese \ntraditions, breakfast is served in a \ncolourful reed basket, traditionally used \nto take food to agricultural workers in \nthe field, and placed outside the room \nin the morning for guests to enjoy at \ntheir leisure. Bread is encased in an \nembroidered cotton bag also nodding to \nthe past: “People would leave, tied to the \nknock on the outside of the door, a little \ncloth bag embroidered with things like \npão and the baker would leave the bread \ninside. That was something very common and \ntraditional, even in the cities, 30 to 40 \nyears ago,” explains Flattered co-founder, \nMiguel Mateus.\nTwo De La Espada homes occupy the top floor \nof Flattered Apartments Porto. Each is \nsplit-level with a dining room on a raised \nplatform, a living room with a hidden pull-\nout bed, and on a mezzanine level, a private \nbedroom with a pitched roof and skylight. \nFurniture made just an hour’s drive away \nat the De La Espada factory in Mira fills \neach apartment: Neri&Hu designs in the sea-\nfacing home, and a combination of Autoban, \nLuca Nichetto, Matthew Hilton, Neri&Hu and \nStudioilse designs in the city-facing.\nAfter travelling the world, we have brought \nour exhibition home to Portugal. Come in, \nkick off your shoes, grab a book from the \nlibrary, and indulge a glass of port before a \nseaside walk. Welcome home to De La Espada.\nAt \nDe \nLa \nEspada, \nwe \nenjoy \ncreating \nmicro-universes for our furniture, our \ninternational exhibitions often feeling \nmore like small homes accommodating a place \nto eat, rest, sleep, and work. Now we have \ntaken it to the next level with a rentable \nholiday home where visitors can rest their \ntired feet, get a good night’s sleep, and \nexperience the De La Espada lifestyle first \nhand.\nIn partnership with Flattered Apartments, \nwe created a home in Porto that serves as \na retreat, an intimate recharging point for \nthe exploration of a city entwined with \nour history. Optimally located in Foz do \nDouro, the apartment is within easy reach \nof the seaside, the historic tram service, \nlocal design shops, and the Serralves \nMuseum \ndesigned \nby \nfamed \nPortuguese \narchitect, Álvaro Siza. The home harnesses \nthe thoughtful hospitality of Flattered and \ncombines it with exclusively De La Espada \nfurniture and styling.\nFlattered is a house-hotel established \nby three design-conscious veterinarians. \nThe Flattered founders,  Miguel Mateus, \nCatarina \nSilva, \nand \nCatarina \nAlves, \nacquired a historic building renovated \nby Barbosa & Guimarães, and worked with \narchitect José Carlos Cruz to design the \ninterior spaces. The project reflects an \nempathy for locale and the building’s past: \nlocal materials and original features \nserve as the framework for a space that \nis contemporary yet rooted in history. \nDrawing from insight gained while working \nwith people and their unwell pets, the \nFlattered founders created an inviting \nrefuge with all the conveniences of home \nplus a range of services including in-room \nmassage and yoga sessions. “We learned \na lot how to deal with people and their \nexpectations on an emotional level,” \nexplains Miguel Mateus.\nA seemingly endless stretch of beach leads \nto the apartments, waves crashing into \nlarge rocks, then a lighthouse, before \nthe turn onto Rua Senhora da Luz. The \nbuilding’s exterior is unassuming, sitting \nquietly among the other residences and \nAT HOME WITH DE LA ESPADA IN PORTO\n",63,{"image":260,"text":261,"number":262},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.64.png","124\n125\ndecisions at every stage of manufacture \nensuring superior products in a way that \nonly thoughtful human intervention can.\nA famously challenging material with a \nwide range of natural variations and life-\nlong movement, solid wood is unforgiving, \nyet its rewards are many. What can compare \nto the silky touch, the entirely unique \nsurface characteristics that nod to the \nlife of the tree, the subtle shimmer of \nan oil finish, the nutty fragrance released \nwhen sanding, or the relationship that \nforms between object and memory as history \nbegins to leave its mark? The expressive \nphysicality, workability, and enduring \nstrength of wood have made it a favourite \nfor furniture making throughout time, from \nthe bentwood chairs of Michael Thonet, \nto the architectural furniture of Frank \nLloyd Wright, to the soulful creations \nof George Nakashima that combine refined \nelements with wild sections of trunk \nreplete with knots and cracks secured with \nbutterfly joints. Each author works with \nThe smell of pine trees is the first thing \nyou notice when you arrive at the grounds \nof the De La Espada factory. Then it is \nthe sounds: the crunch of dry pine needles \nunderfoot, the layered chirping of birds, \nthe intense quiet. The factory is tucked \nin the forest in the agricultural town of \nMira, with tall pines flanking the winding \nroad that leads to its doors and providing \na backdrop to the hum of machines. \nPerhaps most striking is the feeling of \ncalm within the facility, even amongst \ngreat \nproductivity. \nEach \ncraftsperson \nis an expert in their field, and this is \nreflected as much in the way they work as \nin the products they create. De La Espada \ncraftspeople, of whom 50% are women, have \ndedicated their lives to their trade, most \nwith 25-30 years of experience in fields \nincluding cabinetmaking, joinery, selecting \ntimber, finishing and upholstery; and 10-15 \nyears experience in 3D drawing, and both \noperating and programming CNC machinery. \nTheir proficiency allows them to take key \nDE LA ESPADA WOODCRAFT\nthe idiosyncrasies of wood in their own \nway, choosing when to submit and when to \npush back, when to preserve or redirect. \nIt is this dance of the woodworker that \ndefines one’s aesthetic lexicon. \nDe \nLa \nEspada’s \nsignature \napproach \nto \nwoodworking \nbegins \nwith \npremium \nsustainable hardwood. We use only the \nhighest grade timber available, FAS First \nand Seconds. To achieve the maximum yield, \nthese precious boards are usually reserved \nfor making veneers, but De La Espada uses \nthem as generously proportioned solid \nplanks. Our craftspeople apply an internal \ngrading system as well, which dictates \nhow to respond to different aesthetic \ncharacteristics in the timber, whether \ncutting around them or keeping them for \nspecific sides of products. The natural \nbeauty of the timber is jealously guarded, \ninfluencing the sequence and placement of \nplanks to showcase the grain, and guiding \nthe selection of surface finishes to \nmaintain the natural touch. Traditional \nwood joinery including mortise and tenon, \ndovetail, lap, and wedge tenon are combined \nwith slow-drying wood glue for construction \ndetails that are as beautiful as they are \nrobust. \nHigh tech machinery and handwork are used \nfor \ndifferent \noperations \naccording \nto \nwhich offers greater value. Only a skilled \ncraftsperson can decide how to work each \nunique cut of wood for maximum strength, \nchoose which planks look most beautiful \nside by side, fine-tune assemblies, or \neffectively apply finishes to complex shapes. \nConversely, CNC (Computerised Numerical \nControl) machinery offers a precision not \npossible with the human hand, and increases \nefficiency and consistency of workmanship in \nrepeat operations. This machinery distills \nthe knowledge of the carpenters, product \ndevelopment, and technical teams into one \nplace. Even after it is programmed, which \ncan take as long as building a complete piece \nby hand, the CNC requires the watchful eye \nof a skilled craftsperson\u002Ftechnician who \n",64,{"image":264,"text":265,"number":266},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.65.png","126\n127\nensures that each unique piece of timber \nis machined in a way that maximises its \nstructural integrity, and re-programmes \nthe machine if necessary.\nOur craftspeople take pride in their work, \nand cite the greatest challenges of their job \nas the most enjoyable: the problem solving \nrequired for new products, and the fact \nthat, with over 200 products in the line, \nall made to order, every production week is \ndifferent. Their enthusiasm and knowledge-\nbase help to optimise the way furniture \nis made, as they suggest improvements \nto manufacturing processes, feeding into \nthe De La Espada philosophy of continuous \nimprovement: always bettering the build \nquality, functionality and detailing of \nproducts.\nEvery person in our factory works both \nindependently and as part of a team, \ncombining expertise and responding to \nchallenges thoughtfully and effectively. \nThis collaboration is not only the best way \nto create superior products, but creates a \nfeeling of community in the facility, one \nthat carries through to the factory dining \nroom, where twice daily, our craftspeople \ngather around communal tables to enjoy \nfamily-style meals cooked on a wood-fired \nstove.\n",65,{"image":268,"text":269,"number":270},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.66.png","129\n128\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",66,{"image":272,"text":273,"number":274},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.67.png","130\n131\n763S 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\n",67,{"image":276,"text":277,"number":278},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.68.png","132\n133\n781S 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 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NERI&HU\n",71,{"image":292,"text":293,"number":294},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.72.png","140\n141\n762 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\n",72,{"image":296,"text":297,"number":298},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.73.png","142\n143\n106 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 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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. Our painted timber \nis wire brushed before the application of the \npaint, creating a textured surface.\n",78,{"image":320,"text":321,"number":322},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.79.png","DANISH OILED\nAMERICAN BLACK WALNUT\nDANISH OILED\nAMERICAN WHITE OAK\nWHITE OILED\nAMERICAN WHITE OAK\nBLACK OILED\nAMERICAN BLACK WALNUT\nWHITE OILED\nAMERICAN BLACK WALNUT\nOXIDISED\nAMERICAN WHITE OAK\nBLACK OILED\nEUROPEAN ASH\nWHITE OILED\nEUROPEAN ASH\nDANISH OILED\nEUROPEAN ASH\nBLACK OILED\nAMERICAN WHITE OAK\n",79,{"image":324,"text":325,"number":326},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.80.png","ASH PAINTED BLACK\nRAL 9005\nASH PAINTED OCHRE \nNCS S 4040-Y20R\nASH PAINTED FOREST\nNCS S7020-G\nASH PAINTED BORDEAUX \nNCS S6030-R10B\nASH PAINTED BONE \nNCS S1005-Y20R\nASH PAINTED WHITE\nRAL 9016\nASH PAINTED BAY \nNCS S 7010 B50G-APPROX\nASH PAINTED COVE \nNCS S 6010 G10Y-APPROX\nASH PAINTED FJORD\nNCS S 3010 G20Y\nASH PAINTED LAGOON\nNCS 2010 G\n",80,{"image":328,"text":329,"number":330},"\u002Fmedia\u002Fimages\u002F3e\u002F6e46a15c5d371577fe152019dbcefb-28fe2f14d4.81.png","CREDITS\nPhotography\nAll lifestyle, interior and \nstill life photography by \nYuki Sugiura\nPage 65 all images by\nMatthew Hilton\nAll cutouts, factory images \nand interior photos on pages 122-123 by\nCarlos Teixeira\nDesigner portraits by:\nAndrew Rowat\nLera Moiseeva\ncourtesy of Matthew Hilton\nLeslie Williamson\nJoseph De Leo\nSergio Ghetti\nArt direction\nDe La Espada\nStyling\n“Santa Clara 1728”\nDe La Espada\n“Red House” \nDe La Espada \nAlexander Breeze\nEditing & words\nDe La Espada\n© De La Espada\nCREDITS\nAccessories with thanks to:\nSanta Clara 1728\nnanimarquina\nLarusi \nWästberg\nDCW-Editions\nJo Waterhouse\nCatarina Riccabona\nMourne Textiles\nSanta Clara 1728\nMatthew Hilton\nMargarida Fabrica\nPresent & Correct\nNative & Co\nZilio A&C\nSkultuna\nRed House\nnanimarquina\nKalmar 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