You are brothers, truth? From where comes the interest to you by the design?

Yes, we are brothers, the interest by the design comes us by the interest who from always we have had by the art and in general by any creative manifestation; this took me, Javier, to begin architecture, degree that I drop out in two months, when I came to realize that this creative impulse that motivated to me would be obstructed sooner or later by norms and too much expanded implementation times; I looked for immediate accomplishments, looked for that the interval between the idea and its carrying out was minimum; this way I discovered the incursions of the great architects in the world of the design as for example Aalto or Mies van der Rohe; my brother Jose Luis opted for the interior design thinking about the possibility of specified a future collaboration in an own studio.

When and how aroused the idea to establish your own studio? Your intentions, objectives…

It arose from a natural way, participating in very many contests, doing to us contributor of the projects that in the school each one had in hands; we realized that, since a formal or aesthetic vision vey similar, we considered the design basically like a creative activity in charge to improve our environment, mainly remote of fashions and shrillness, we wanted to make a calm, simple, near design.

How is the relation with the production companies?

In general it is good, although we realized that, in general,  fluidity in that relation does not exist; the companies do not have assimilated the design like daily tool and basic of the organizational chart of a company, and it is observed almost like a marginal activity nearer the artistic thing that the economic thing; part of this problem must to the approach that the press usually does of the subjects related to this activity, the design would be due to treat more habitually in the economy pages where speech of investigation and productivity; we think that there are many businessmen who avoid instinctively the design when seeing it surrounded by a speech almost philosophical and the glamour of tinsel; in many cases it is used to the design as it excuses to sell any event to us. Our experience with the companies with which we collaborated we try that it even reaches a friendship and complicity relation; when designing we try to enjoy well and passing us creating it, and want to make contributor to the people of those companies in that benefit.

How you undertake a project? First which you do before beginning to think, to work in it.

The approach to a project we made it of a way we create quite heterodox, we forgot, and we know that there will be much people who are scandalized, of the famous synchronous and diachronic analyses that explain the manuals; we tried to see the order from a cross-sectional perspective crossing it originating visions of any scope like the poetry, the theatre, Literature, the cinema, the philosophy, etc, etc, before of the own field of the design; we are bored of seeing a lot of banks if which is it is to design a bank; we prefer, like or has happened, that a bank is born visiting Chillida - Leku or reading Waiting for Godot, before to analyze fleeting tendencies and fashions; we try to create Timeless pieces; for that reason we took long time to sketch, we begin writing, words, concepts, small aphorisms around the project; once we have articulated that speech begins the phase of formalization, quite brief, since the formal decisions are guaranteed quickly or not by that previous conceptual frame; we try that all project is sustained by “an intellectual” speech that by all means we see like tool of justification of decisions and that at no moment we try to by all means make neither to the manufacturer nor to the buyer or end user visible; when creating a bank from a text as the Walk of Walser or when analyzing the figure of flaneur our interest is not to design a philosophical bank, but contributing a new look towards a so daily element.

What designers seem to you interesting?  Which bluff?

For us Jasper Morrison is a referring one of the design that we like to do, an honest design even if you will simple where the track of the designer disappears and leaves is the own object the one that speaks; the work of Carles Riart has always interested us in the intimate exposition that establishes with its creations recovering the furniture-maker concept doing near the relation of the furniture with its user, disregarding advice of the whirl of fashions and the futility.

We think are bluff those who try to impose their seal to anything which they do, marking a style, thing that for example we never are going to try to have, at least of a premeditated way; or those that sacrifice as basic questions as the functionality after a photogenic design of shiny paper that only look nice in the covers of the magazines or in the museums.

We want to make a design that is bought, that is lived, that people enjoys and he does not create more problems to him than those than already have; we can say that we like the design of the working days not the one of Sundays and the great celebrations.

You have made works in very diverse fields.  In as you feel more comfortable?

Lately we are making very many work in the field of the urban furniture, field that on the other hand gets passionate us by the fact that it is a sector in which the end user, the old one, the boy, the pair of lovers, meet it stablished, cannot choose it, at least in the same way that can choose a sofa for its house; this forces to us to deal with it a nearer way, still more human; also it has the incentive to participate and to propose within the urban weave, generating the city and, the most attractive, spaces of relation between people. We have many projects of domestic furniture, specially in wood, fruit of our participation in contests and a task of own investigation, without order; it gives fear us that the market classifies to us as specialist in urban furniture and does not call to develop that other type of design that during years we have been making.

Of what project you feel more satisfied?  Why?

Our favourite design continues being the Virtual bookcase, produced by Complements Dynamics; its about a design that resolves problems, like where and how to place all those books that are piled up in unstable columns in the most unsuspected spaces of our houses and studios; but simultaneously it has a very great poetic and visual meaning; this is a contradictory bookcase because it disappears when it is full, and he is greater the content than the continent. It is a project that reflects enough good our approaching, is a design that we like to call essentialist, term that goes more far than the rotten one of minimalism; we do not like to arrive at the minimum, but at the essential.

As is the last project in which you are involved?

We are developing with Tecnología&Diseño Cabanes a program of urban furniture to develop in a term of three years from which we hope for great projects, in the creation of new forms to perceive the urban furniture, running away from classic typologies; good example is parasol Oasis that although is an element that traditionally architects have developed occasionally in their works, has never been tried to incorporate like a catalogue element.

Also we are developing what we try that becomes a collection of lamps created from the analysis of the illumination in the film noir at its classic time; we want to create lights, but that lamps, we want to define forms to illuminate, but that containers or supports for light bulbs, but for it we needed a dangerous manufacturer, that we have so far not found.