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Miguel Milá, was a pre-industrial designer and interior designer, inventor and bricoleur, he began his career in the 1950s as was a pioneer of what became known as industrial design. Born into an aristocratic Catalan family with close ties to the art world, his uncle Pedro Milá y Camps, commissioned Gaudí to cuild the famous Casa Milá, known as La Pedrera, he began working as an interior designer in the architectural studio of his brothers Alfonso and Federico Correa.

Faced with a scarcity of objects, media and raw materials in the post-war aftermath, he began to design his own furniture and lamps, which he soon produced through his own firm Tramo (Tra-bajo Mo-lestos). Pieces which remain true contemporary classics to this day. Some years later he founded his own design and interior design studio. He participated with the designers and architects of the time in the first meetings of Barcelona to promote design and implement his professional practice, derived from the debate on architectural modernity and that resulted in the creation of the ADI FAD, together with André Ricard, Antonio de Moragas, Oriol Bohigas, Alexandre Cirici Pellicer, Manel Cases, Rafael Marquina and Ramón Marinello, among others. Since its foundation, the association has dedicated itself to broading the horizons of Spanish design, by both international promotion and connecting young Spanish professionals with the outside world.

"I'm actually a pre-industrial designer. I feel more comfortable with those technical procedures that allow me to correct errors, experiment during the process and control it to the fullest. Hence also my preference for noble materials, which know how to age'', such as the Cesta lamps (1964), made of wood; Manila (1961), made of cane; the M68 (1968), made of aluminum, or the methacrylate or natural linen screens of the American series (1963).

After a stage that coincided with the excesses of the eighties, during which he devoted himself to interior design and curating exhibitions, he resumed industrial design with an equally rationalist foundation and a more current language, exemplified by the Neoromantic bank (1995). He continued a few years later, with the Neoromantic banks light leg (2000) and the Neoromantic aluminum light leg (2002).

Miguel Milá has played a key role in the history of modern Catalan design. His work has been based on modernizing tradition: several of his pieces have overcome the circumstances in which they were produced and maintain their validity today, "thanks to being born at a time when rigor and honesty were valued," says Mila. In 1987 he was recognized with the first edition of the National Design Award and in 2008, he also earned the Compasso D'Oro in recognition of his professional career and his contribution to the dissemination of Spanish design abroad.