A low, armless chair that’s easy to carry and made for sitting close to the ground—with a book or a drink comfortably within reach. Barceloneta is one of the clearest expressions of 1950s Mediterranean Rationalism.
Its beechwood frame forms a precise triangle between backrest, seat, and rear leg—a simple gesture with surprising refinement. The seat is upholstered in suede leather. The white canvas backrest, held taut with a nautical rope, recalls the rigging of a sail. It’s removable, washable, and inclined just enough to invite rest—and cradle the head.
Tensioned canvas and hand-worked wood pay quiet tribute to the mestres d’aixa—coastal boatbuilders who shaped vessels from timber, by hand. Barceloneta carries the breeze of a Mediterranean evening and the spirit of two young designers, Correa and Milá. It’s a rationalist gandula—a chair for unwinding without fuss. In Catalan, a gandul is someone who leans into idleness, who lets time pass without remorse. In that gentle surrender lies the duo’s modern reinterpretation of popular traditions—the humble fishing chairs and the street-side gatherings of neighbors in old coastal towns, who brought their seats outside in the evening to catch the breeze and talk with anyone passing by. This chair celebrates that kind of everyday ease—human, social, and designed for good use.
This chair was born from a real commission. Architect José Antonio Coderch asked his young apprentices, Correa and Milá, to design furniture for the Casa de la Marina, a social housing project in the working-class Barceloneta district of Barcelona. They named it after the neighborhood, not just because that’s where the building stood, but as a playful nod to Mies van der Rohe’s Barcelona Chair, crafted in steel and leather and always well beyond what a fisherman could afford. Senators and fishermen—or fishermen seated like senators.
White fabric backrest.
Leather seat.
A low, armless chair that’s easy to carry and made for sitting close to the ground—with a book or a drink comfortably within reach. Barceloneta is one of the clearest expressions of 1950s Mediterranean Rationalism.
Its beechwood frame forms a precise triangle between backrest, seat, and rear leg—a simple gesture with surprising refinement. The seat is upholstered in suede leather. The white canvas backrest, held taut with a nautical rope, recalls the rigging of a sail. It’s removable, washable, and inclined just enough to invite rest—and cradle the head.
Tensioned canvas and hand-worked wood pay quiet tribute to the mestres d’aixa—coastal boatbuilders who shaped vessels from timber, by hand. Barceloneta carries the breeze of a Mediterranean evening and the spirit of two young designers, Correa and Milá. It’s a rationalist gandula—a chair for unwinding without fuss. In Catalan, a gandul is someone who leans into idleness, who lets time pass without remorse. In that gentle surrender lies the duo’s modern reinterpretation of popular traditions—the humble fishing chairs and the street-side gatherings of neighbors in old coastal towns, who brought their seats outside in the evening to catch the breeze and talk with anyone passing by. This chair celebrates that kind of everyday ease—human, social, and designed for good use.
This chair was born from a real commission. Architect José Antonio Coderch asked his young apprentices, Correa and Milá, to design furniture for the Casa de la Marina, a social housing project in the working-class Barceloneta district of Barcelona. They named it after the neighborhood, not just because that’s where the building stood, but as a playful nod to Mies van der Rohe’s Barcelona Chair, crafted in steel and leather and always well beyond what a fisherman could afford. Senators and fishermen—or fishermen seated like senators.
White fabric backrest.
Leather seat.
A curatorial filter where every object is a point of view.