In this mobile and constantly changing world where there is ever more movement and less sitting in peace, where work has become the leading voice telling us the how and when of where we live, where having fewer possessions give us the advantage of traveling light, allowing us to move on without being burdened by the contents of our house.

This modern trend of Low Design demanding that each object justifies its presence, proposes the need to look for the essence of a place without forgetting about the nature of the environment, while using the space according to its function and logic. Working on areas and proportions where every detail comes about as a result of a process of reduction, Mies Van Der Rohe rocked the world in 1930 with “More is Less”.

Today design has returned to the concept of clean lines in natural colors and materials such as wood, glass and steel, sometimes using color as a decorative element in its own right, like a single note that stands out in a symphony without interrupting its harmony.

However Low Design turns out to be more than just living in an empty house, it results from justifying the purpose of each element, the way in which we place things and the use of space. It is in some sense to open the mind, assisted by architecture because the extent to which we open up the space, influences how we are ourselves opened up to appreciate other things, aesthetic concepts which maybe had previously appeared to be out of place. Light creates warm, clean spaces and serves to make objects stand out, as if they were unique pieces – which sometimes they are – created solely for the pleasure of the beauty that they awaken in the observer, positioned in a particular place because of their impact on the whole and the way in which they interact with the environment they are placed in.

Within this framework of austerity and sobriety, space, bare walls, natural light, pure materials, simplicity, essence, austerity, the severity of the absolute, color and materials become unifying elements that allow us to dispose of all unnecessary things and to organize the space, with everything contained within the pure straight lines of the furniture which don’t “upset” the peace and aesthetics of the place, but in the interior of which lie the myriads of tiny obstacles that we carry with us as memories or souvenirs of other lives that form part of our past and that we are unable to escape.

Beauty and functionality are adjectives that precisely describe both the space and the objects that it houses; each piece is itself the sum of a concept which has taken a physical form because of the vital need of the person who will use it.

Lines that are straight or even if not absolutely straight then at least pure and clean, spaces where your vision can get lost in a distant horizon, air, height, a few combined elements, end up being luxurious in this world of ours which is increasingly visually “noisy”, cluttered with signs and symbols that do not allow us to rest. This gives rise to the need for spaces to become oases, peaceful backwaters, safe havens which bless us with a moment of silence in the midst of the incessant uproar of our modern, twenty four hour a day cities, where the exquisite nakedness of space and silence that populate them are valued assets of those who know how to live well.