- White metal and plastic wall sconces - Manufactured around 1962 - Designed by Miguel Mila? Miguel Mila? was born into a Catalan aristocratic family with strong links to the artistic world. He started working as an interior designer in his brother´s architecture studio (Alfonso Mila? and Federico Correa) towards the end of the 1950s, a time of crisis when Spain was not accustomed to industrial design. There was a lack of industry, with most items being handmade, and this framework marked the way Mila? understood design, being closer to traditional techniques. Despite the shortage of objects, means, and raw materials of the time, Mila? started designing lamps and furniture, and soon manufactured within his own company, Tramo, a venture set up with two friends, architects F. Ribas Barange? and E. Pe?rez Ullibari. Out of Tramo he developed the previous versions of the famous TMC and TMM lamps (1958 and 1961), pieces that are still selling today. Some time after, he set up his own Industrial and interior design studio, participating with the designers and architects of that period in meetings in Barcelona which focused on how to promote Spanish design. These meetings culminated in the foundation of the ADI-FAD, together with Antoni de Moragas, Andre? Ricard, Bohigas, Cirici Pellicer, Manel Cases and Rafael Marquina. From its beginnings, this association sought to foster Spanish design abroad, and to make a connection between young Spanish professionals and international design. ´´I am in reality a pre-Industrial designer´´ Mila? stated, ´´I feel more comfortable with the technical procedures that allow correcting failures, experimenting during the process, and controlling it to the maximum. That is where my preference for noble materials comes from, the preference for materials that know how to age.´´ This is the case, among others, for the wooden Cesta lamps (1964), the reed Manila lamp (1961); the M68 lamp, made out of aluminium (1968); or the lamp series ´Americana´ that used natural linen shades. After a period of silence that coincided with the postmodern 1980s, during which he focused on designing interior spaces and exhibitions, he took up his industrial design projects again, with a more modern and rationalist language, and applied it to urban design. The Neoroma?ntico bench (1995) is a clear example of this, being a bench that in a few years has become commonplace in urban settings. Following this were the Neoroma?ntico pata liviana (2000) and the Neoroma?ntico aluminio pata liviana (2002). Mila? has come to be a classic figure in design, representing the history of Catalan modern design. His work has focused on bringing tradition up to date: many of his products have overcome the circumstances under which they were made, and are still selling today ´´thanks to having been born at a time when rigor and honesty were high values´´, stated Mila?. In 1987, he was awarded the Premio Nacional de Disen?o and in 2008 he was reward the Compasso d´Oro in recognition of his career history and his contribution to the promotion of Spanish design.