The designed elements allude to the logic of the 17th century, through contemporary reflection. All the designed pieces have been made by an artisanal process to integrate the singularity of the pieces and favor the overlapping of geometries. The lightness of the elements favors a discreet insertion in each space and its visibly manual image serves to bring the object closer to the daily life of each place.

YEAR 2018
LOCATION Sevilla. Spain
CLIENT Ayuntamiento de Sevilla
STATUS Completed
PROGRAM Furniture Design
Francisco Pérez Román, LUGADERO (Marta Morera, Javier Martínez, Tamara Fernández, Pablo Sendra, Antonio Figueroa, Elisa Monge, Beatriz Pavón)


Murillo’s Seville is part of a national context in which after a prolonged period of wealth, after the construction of El Escorial and with the march of American gold to Central Europe, the crisis became a limiting factor for creation. It is a time when architectural activity disappears and the grandiose buildings that accompany religious and pagan events are staged around ephemeral architectures. These architectures simulate constructions such as facades, triumphal arches, … and incorporate pictorial and sculptural works. Murillo participates in the most outstanding ephemeral architectures in the city, such as the canonization of San Fernando and the Corpus celebrations.


The religious context is a key element to approach Murillo’s work. The pieces destined for sacred spaces or his work on altars are recognized milestones of his production. The altars, the chapels, the confessionals make up a series of spaces that are linked at different scales to people from the community to the individual. The different supports proposed allude to these typologies linked to the religious. The triple structure, the degrees of intimacy, and the center of the composition as a fundamental motif are present in the three main elements proposed: the altarpiece cabinet, the chapel cabinet and the landmark. The altarpiece furniture opens to welcome the community as a triptych altarpiece, while the chapel furniture favors a more intimate and individual space. Lastly, the landmark, permanently on the outside, becomes more austere and concentrates on one plane to blend with urban dynamics.


The artistic context in which Murillo carries out his activity, conditioned by the Baroque hatching in the city, supposes a strong formal input in his creation. Overcoming the formal rules of previous stages and transgression in form become keys to this artistic moment. In the case of the Sevillian painter, the bombastic compositions and the characteristic work by planes with a refined and effective pictorial technique, can be understood as part of the relationship with his time.