Like a true ode to the workmanship and know-how of wood, the table is made of a solid wooden base and a lacquered wooden top. The same formal duality of the armchair can be found here: an imposing ebony-brown base made of exotic wood - left in its rawest form, without tint or treatment - carrying a fine immaculate top whose shine brings lightness and refinement to the whole creation. A duality that evokes enigmatically a carapace carried by four robust legs. As a whole, the creation captures the versatile nature of wood and the plurality of transformations it allows.

Through Escales, Aro Vega aims to offer an unusual journey through the history of design by making the raw material of his creations the source for a reflection on the transformation and evolution of design. Thus, in a reverse chronology, from the current object to its original roots, Aro Vega seeks to bring out the rawest expression of his design pieces, revealing their purest material essence towards near sculptural abstraction. A quest for authenticity undertaken in a genuine contemporary language that allows the materials – bronze, brass, exotic wood, glass, silk – selected by Vega to exist for themselves, thus freed from their conventional functionality as furniture.

Just as the word Escales suggests, the series is fragmented into several halts, making Escales I the starting point of Vega’s stripping of the creation process. Bringing together four collectible designs available in a limited edition of 8. This initial phase is exploring the notion of reminiscence by engaging multiple influences inspired, amongst others, by fauna and flora as well as non-western traditional designs that fascinated the 19th century. Those influences, whose contours are not fully defined, provoke fragments of fuzzy souvenirs, an intuition without any identification, or at least the emergence of a feeling, however strange it may be.

Aro Vega explains: “I try to explore design as a support for a narrative process and as a vehicle for an emotion or a reflection. A feeling that comes from looking at the piece, from practicing it and walking around it. That the user thinks that the designer wanted to evoke something, even if he can't quite put the finger on it. To attempt this, I try to completely ignore the aesthetics and function of the piece of furniture to focus on that little strange something, which makes us ask "why is this piece like that". If this feeling appears, the function will reveal itself, and the aesthetics will follow naturally in one form or another.”