of structure and cleanliness of construction." Constructed of oak in the Casas i Bardés workshops, the pieces— including chairs, benches, a table, a desk, a stool, and a mirror with a gilded frame— display Gaudí's move towards fluid, organic designs while still retaining somewhat traditional elements. However, the armchair he designed for the office, though containing ornamental flourishes and featuring a distinctive heart-shaped seat back and a round seat, breaks away from tradition, lacking a single straight line. An example of "free-form" furniture, the chair was designed to "cradle the human body," and its lines are reminiscent of Art Nouveau furniture without being strictly classified as Art Nouveau. Soon, Gaudí would strip away remaining elements of "superfluous ornamentation" in favor of simple "comfort and utility." From this point on, his furniture designs feature "solid forms and simple profiles," sometimes suggesting the simple lines of medieval furniture design while still containing his trademark "sinuous and zigzagging lines." Casa Batlló and the confidant The furniture that Gaudí designed for his renovation of Casa Batlló (1904-1906) is much more simplified than any of his designs for previous projects, eliminating all ornamentation and upholstery while emphasizing practicality and functionality. Whereas his furniture for Casa Calvet still retained recognizable callbacks to traditional design, the Casa Batlló furniture broke away entirely from tradition, with shapes that gave the appearance of being molded with soft material and tables and benches that were broken up into multiple sections instead of having solid surfaces. Benches and chairs such as the confidant not only had seats that were rounded to fit the human form, but also had sizes and shapes that allowed them to fit perfectly against the wall where they were meant to be placed. Even though Mrs. Batlló begged Gaudí to add traditional upholstery and other textile elements to the furniture for her house, he refused and even went further, eliminating marquetery and carved elements as well, techniques that were in vogue with other designers of the time. Gaudí's radical furniture designs for the Casa Batlló received acclaim from surrealist artists and especially from Salvador Dalí. After Casa Batlló Gaudí's furniture design continued to evolve after Casa Batlló as he designed buildings and spaces that presented new challenges in integrating furnishings with their surroundings. For Casa Milá (1906-1912), he wanted the walls, ceilings, balconies, door handles, and furniture not only to share the same curved forms but also