YES, OFF COURSE - 11. LORIMER
by SAGARÍA
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You don’t need to hide it. Just put it away beautifully.
Lorimer is a storage piece from the second drop of YES, OFF COURSE, conceived as a dresser with two independent side cocktail bars. Its central body is defined by a disciplined sequence of drawers, while the side elements introduce a more private, almost conspiratorial function. Attached, removed, or positioned separately, they allow the composition to expand beyond the dresser itself.
The piece moves between order and indulgence. What should be stored is given a precise place. What should perhaps remain unmentioned is given one too.
Piano-black lacquer, ivory-white lacquer, anodized aluminum, radica di mirto wood, and coloured lacquer give Lorimer a sharp architectural presence, softened by rounded corners and interrupted by details that suggest use, ritual, and secrecy.
Lorimer does not hide excess. It organizes it beautifully.
W 140 x D 48 x H 110 cm
W 55.12 x D 18.9 x H 43.31 in
Materials: Piano-Black Lacquer, Ivory-White Lacquer, Anodized Aluminium, Radica Wood, Coloured
About
SAGARÍA
Matias Sagaria, founder of SAGARÍA.
SAGARÍA does not approach design as output.
It begins from the assumption that every object, every space, every gesture carries consequences. Not abstractly, but in the way people move, behave, remember: what is built remains, what remains shapes.
Before establishing his own practice, Matias Sagaria spent over a decade leading design across international hospitality, retail, and residential projects, working alongside studios such as Tonychi and Roman and Williams. That experience established a discipline where precision, narrative, and control are inseparable and where every decision carries weight.
What defines SAGARÍA is not a style, but a position.
The work moves away from a culture of acceleration, where objects, spaces, and images are produced to respond, to follow, to disappear.
Instead, it insists on care: care in time, in material, in construction, in thought, not as a value to declare but as a condition to operate within.
The work does not aim to simplify complexity, but to hold it: things are allowed to remain unresolved, layered, sometimes contradictory.
Designing becomes a way to construct worlds, places where dreaming is not confined to night, but given form, weight, and consequence.
Architecture, Interiors, and Design are not treated as separate disciplines, but as parts of the same continuous system, where each element informs the other and nothing exists in isolation. Precision is not used to simplify, but to sustain complexity. Materials are not applied, but worked until they carry weight. Geometry is exact, but never static.
At its core, the practice is driven by a pursuit of beauty not as harmony, but as the precise balance within what resists balance.
A condition where tension is not resolved, but held.
Nothing meaningful comes easily.
Nothing lasting comes from speed.
What remains is the only measure.
