all projects

residential

commercial

furniture

editorial

Where the
body
meets
space

Some objects establish a direct relationship with the body and, from that point onwards, begin to organise the space around them.

The armchair is one of them.
Places of permanence are one of those elements.

Before any formal interpretation, it is defined by fit, support and permanence.

The intention behind a
project's identity

Before choosing the material, colour, or design, there is an invisible repertoire that guides the project: memories, habits, everyday rhythms, necessary silences, and tolerable excesses. Every resident carries their own way of occupying the world, and it is from here that architecture is founded.

the time
of decisions

Every beginning of the year carries choices. Some are evident, others almost imperceptible, but it is from these that the work is sustained.

In the erriá, decisions accumulate in the design that precedes the work, in testing a fit, in the choice of a material, in the way an object touches the body or how a space responds to use. These are decisions that do not seek immediate effect, but slowly build meaning, in the time of doing.

The time
of things

There is a type of architecture that imposes itself immediately. Another, rarer type, prefers to be perceived gradually. It does not announce itself; it is built over time.

It is this process that guided the erriá in the last year: we began to organise our recent production into a continuous narrative, not as a sequence of isolated projects. What was underway was not merely the presentation of projects, pieces, or completed spaces, but rather the translation into image and text of the time of things: that of listening, of matter, of the body, of space. A journey that understands the project as something that is formed by layers and not by leaps.

the house
inhabited

The Sagitarius Residence reveals an architecture that strengthens in the meeting of routine and presence. The project materialises in the interface between the precision of gestures - the wide circulation spaces, the light aligned with the surfaces, the joinery that structures the space naturally - and the routine of those who live there.

What remains when the form transforms

No error, furniture design does not arise from a need to fill space, but to understand it. To perceive weight, touch, temperature, and translate them into form. Each piece is born as an extension of architecture, as part of the same thought that traverses scales: from the body to the home, from the structure to the detail.

Body in motion,
work in progress

In this way, planning the space is not limited to proportions and timelines: it is about finding the space in transition - observing how matter organizes itself, how light passes through the void, and how detail announces the life to come. Just like following a construction, allowing oneself to experience new spatialities, whether in a design fair, in museums, or in exhibitions, becomes a way of thinking about architecture beyond the project.

corpo
e casa

Perhaps the most intimate trait of a project lies in what it holds without announcing: the time of pause, the small gesture, the ebb and flow between rooms, the exact distance between touch and support. When we think of space as an extension of the body, we seek not only ergonomics as a response but presence as a premise.

a project begins
within intersections

The project is born at the moment when gazes and words cross.
It is in this meeting - the first stage of the design process - that ways of living, pauses and movements (of everyday life) are translated into the built space.
The attentive listening of the erriá reveals everyday gestures that, over time, transform into rituals of living: the coffee that happens in the same armchair,
the light that crosses the window, the table that becomes a point of conversation and work.

Details that stitch stories

We understand that sensitive choices are not resolved at the end of a project. They exist from the very beginning. Each choice carries the potential of a narrative. The doorknob that feels heavy in the hand. The wood cut that subtly repeats in other furniture. The light fixture that integrates with the panel. It is these decisions (sometimes minimal) that make the space belong to those who inhabit it.

MEET THE NEW ERRIÁ

The erriá originates from an intense curiosity about the universe of architecture and design. It emerges with a contemporary and innovative approach. Always in search of materials and technologies, ideas are shaped into tangible structures. The work occurs from large to small scale, where the experience reflects from architecture to furniture.

get inspired
by our manifesto

The erriá is born from attentive listening. From those who inhabit the space, the rhythm of inhabiting, the silences, the time, and that which is manifested in the subtleties of everyday life. Our work traverses different scales, yet stems from the same intention: how to make the space a place of permanence?

Where the body
meets
space

Some objects establish a direct relationship with the body and, from that, begin to organise the surrounding space.

The armchair is one of them.
Places of permanence are one of those elements.

Before any formal reading, it is defined by fit, support and permanence.

The intention behind the
identity of a project

the time
of the decisions

Every beginning of the year carries choices. Some are evident, others almost imperceptible, but it is from these that the work is sustained.

The time
of things

There is a type of architecture that imposes itself immediately. Another, rarer one, prefers to reveal itself gradually. It does not announce itself; it is built over time.

This is the process that guided erriá over the past year: we began to organise our recent production into a continuous narrative, not as a sequence of isolated projects. What was underway was not just the presentation of projects, pieces, or completed spaces, but rather the translation into image and text of the time of things: that of listening, of matter, of body, of space. A journey that understands the project as something that forms in layers and not in leaps.

the house
inhabited

The Sagitarius Residence reveals an architecture that strengthens itself in the meeting between routine and presence. The project materialises in the interface between the precision of gestures - the wide circulations, the light aligned with the surfaces, the carpentry that structures the space naturally - and the routine of those who inhabit it.

What remains when the form transforms

Body in motion,
work in progress

In the erriá, planning the space is not limited to proportions and schedules: it is about finding the space in transition - observing how matter organizes itself, how light traverses the void, and how the detail announces the life to come. Just as with the monitoring of a construction project, allowing oneself to experience new spatialities, whether at a design fair, in museums, or at exhibitions, becomes a way of thinking about architecture beyond the project.

body
and home

Perhaps the most intimate aspect of a project lies in what it holds without announcing: the time of pause, the small gesture, the ebb and flow between rooms, the exact distance between touch and support. When we think of space as an extension of the body, we seek not only ergonomics as a response, but presence as a premise.

a project begins
within intersections

Details that stitch stories

We understand that sensitive choices are not resolved at the end of a project. They exist from the very beginning. Each choice carries the power of a narrative. The door handle that feels heavy in the hand. The cut of the wood that subtly repeats in other furniture. The light fixture that integrates into the panel. It is these decisions (sometimes minimal) that make the space belong to those who inhabit it.

meet the new erriá

Erria has always lived between scales — from architecture to object. But we knew it was time to align what we showed on the outside with the precision of what was already happening on the inside. There was a lack of clarity in communication. Our way of representing no longer translated our journey. The fronts of action were diluted. The content was fragmented.