Fundamentos del vacío
Shadow , geometry and architecture turned into object
Fundamentos del vacío is a collection os sculptural furniture that transcends function to become inhabitable architecture.
Designed and created by las ánimas, the series explores the tension between void and structure, between what is present and what is missing, between the visible and the imagined.
Each piece is crafted in plywood, a material often associated with the temporary, here elevated through a meticulous construction process to achieve an architectural and ritual presence. The low table (Fundamentos del vacío I) and the side table/stool (Fundamentos del vacío II) can be presented as independent objects or as a set, generating configurations that act as contemporary scenography.
The stepped and geometric forms evoke primitive temples and brutalist structures, while the cuts, angles, and voids create a play of light and shadow that transforms the surrounding space. This is furniture conceived as sculpture, with a formal language that connects brutalist architecture, retrofuturist aesthetics, and ancestral rituality
Far from being mere functional objects, the pieces in Fundamentos del Vacío behave like contemporary totems: symbolic thresholds that invite contemplation and spatial experience. Each work inhabits a liminal territory between design and art, offering architects, interior designers, and collectors the opportunity to incorporate into their projects unique pieces of strong aesthetic and emotional impact.
Sculptural furniture. Collectible design: 8 units + 1 AP by Fundamentos del vacío I and 8 pair + 1 AP by Fundamentos del vacío II. Pieces created one to one in our workshop in Seville.
Fundamentos del vacío I (low table): 150 x 75 x 35 cm.
Fundamentos del vacío II (side table / stool): 48 x 50 x 36 cm.
Behind Fundamentos del vacío
Fundamentos del Vacío, wood appears as layers of content: sheets glued together, their lines moving in the same direction to create continuity and a visual rhythm of their own. This gesture, seemingly technical, becomes an invisible order, a silent harmony that grants each piece an architectural character.
The forms are not born with the idea of a table or a stool in mind, but from images, memories, or quick sketches on paper. From that initial intuition begins a journey: first the emotion, then the translation into technical plans, proportions, measurements, and the colder but necessary step of the computer. In that transition between the instinctive and the calculated, the work emerges. Many times what begins as a trace ends up as a piece of furniture, but in our minds it still inhabits a broader space, as if it were part of an imagined scenography.
The material, in its natural color, speaks for itself. We add nothing to disguise it. Light and shadow take charge of drawing the planes, cuts, and volumes. Each angle creates a new dialogue with the space: the pieces feel like altars, or fragments of a larger construction that extends beyond the room. They stand as sculptural objects, presences that transform the atmosphere around them.
In the studio, the process always brings us back to a moment of discovery. Gluing, pressing, sanding… and little by little, something arises that did not exist before. It is not only a matter of craft, but of emotion. There is a quiet happiness in seeing the piece appear, as if it had always been waiting inside the wood. For us, these are not simply tables or stools; they are sculptural presences, objects capable of altering the space they inhabit.
We believe design is not limited to utility. It is about creating symbols, leaving traces of another world within this one. Fundamentos del Vacío is part of that search: an attempt to balance solidity and emptiness, geometry and intuition, memory and invention. And above all, to offer something real, sincere, and timeless: fragments of our imagination translated into wood for others to inhabit and make their own.
In this balance between the functional and the sculptural, we also claim the value of beauty for its own sake. We do not seek to justify the piece solely through its use: function accompanies, but it does not dictate. What is essential is the aesthetic experience, the power of form and light to transform a space. Function is present, but it is beauty that holds the ultimate meaning of the work: to inhabit beauty.