The idea of founding FORMA CAPRICHOSA was born a few years ago, as a result of experience of its founder and her research in the field of art and architecture. It is also a response to a deficiency in the furniture and interior design market. Our experience shows that despite all the beauty of design icons seen in interior design magazines, they are unaffordable for the majority of investors. These are the works of internationally recognised artists such as Mies van der Rohe, Le Corbusier, Frank Lloyd Wright, Charles and Ray Eames, Charles Rennie Macintosh and Arne Jacobsen that often, despite being nearly 100 years old, are still awe-inspiring. Such icons are also created by modern designers such as Philippe Starck, Antonio Citterio, Antonio Lupi, Ron Arad, Tom Dixon, Ludovica and Roberto Palomba and Karim Rashid. I admire these artists for their extraordinary imagination. These innovators discovered a timeless form, unique to each of them, fleeing from banality.
The products proposed by FORMA CAPRICHOSA try to keep the balance between price and design, giving an opportunity to a broader group of discerning customers to purchase them for their homes, apartments or public buildings. The customer becomes a participant in the creation and selection of the material and dimensions of the furniture models shown on the website, without being limited by the sameness of mass production. The first lines of furniture are a BASIC series, developed in parallel with a UNIQUE series, consisting of models of unusual character.
FORMA CAPRICHOSA has become a venue for dialogue between architects and artists. Hence, we have invited to cooperation those for whom construction is the basis of creation as well as those for whom this same basis is their unfettered imagination. The aim of the company is not only the designing of buildings and furniture, but also the promotion of art.
Personally, I am fascinated by the extraordinary beauty of the feathered chandeliers of Dale Chihuly and the synthetic architecture of Rafael Moneo. Notably his Fundació Pilar y Joan Miró in Palma de Mallorca captivates me, where raw concrete walls lead an extraordinary dialogue with onyx surfaces of the windows, through which the light is filtered deeply into the interior. And how moving the sensual armchair Heart Cone Chair of Verner Panton is...
A turning point in my creative search was the meeting of professor João Santa-Rita of Lisbon at the architecture studio Grupa Platforma, who enthusiastically accepted my proposal to cooperate in the designing of furniture. It was he who showed me with his bold projects how to escape from the banality of the cube and how architecture can, and even should, be a constant search for what is an expression of creativity that should evoke emotions and inspire us.
Also traveling to Spain gave me the opportunity to discover architecture which moves people with its ingenuity, and despite being seemingly improvised produces complete works such as the Metropol Parasol in Sevilla by Jürgen Mayer H., Torre Agbar in Barcelona by Jean Nouvel, Ciudad de las Artes y las Ciencias in Valencia by Santiago Calatrava, or the footbridge for pedestrians Peatonal in Parque de Arganzuela in Madrid by Dominique Perrault. The blending of European and Moorish cultures allowed the Spaniards to discover two worlds in which there are two distinct ways of creating space and handling detail. Who is not impressed by the latticework of Alhambra in Granada or the Monastery of Montserrat embedded in the rock, bringing out the beauty of the majestic mountains? Handling a smooth surface with almost ephemeral and delicate openwork structures allows us to understand the play of light and shade that is so characteristic of Southern Europe. It is the Spaniards who boldly juxtapose the historical architecture with the often quite futuristic objects, not trying to reproduce or mimic what has already happened, but starting from it and going ahead saying '¡Adelante!'