Our facilities become for a few days into a Cold War-era shelter.

Francisco Segarra collaborates with “The Ultimate Hideaway”, a teaser by Juan J. Bargues for Netflix.

Project managers completed the transformation of the facilities into the recreation of a former shelter designed to serve as an emergency place for the United States Congress during the Cold War.

For two days, our showroom in Almazora and all its facilities went back in time, as the teaser “The Ultimate Hideaway” was filmed there, an adaptation set in the 1960s in the United States.

“This is an apocalyptic sci-fi story based on the survivors of a natural disaster in the emergency bunker of The Greenbrier hotel in Virginia USA. “,” says the director.

“In 1960, during the Cold War, there was a tremor in the area, and they believed it was a nuclear attack. After the tremor 200 people hid in the shelter leaving their lives behind, and a certain death. Sixty years later and with no news from abroad, the survivors live in isolation underground, and after several generations within them, the quality of life and structure of the bunker itself are very poor. Through flashbacks, “The Ultimate Hideaway” specifically refers to the stories of the protagonists, and their relatives before the incident, explaining the decisions they make, and where no one is what it seems,” Bargues confesses.

Francisco Segarra hosted the technical team during filming and collaborated with all the professionals who participated in the film: technicians, managers, actors, and actresses. Throughout the recording all the installations have been made use adapting the different rooms for the representations of the serial.

The setting located on the ground floor of the film hotel is our Ofelia café, as well as the meeting centre of young people who are staged in El Clandestino, aged and enigmatic. Burchick appears as a restaurant, where furniture, like field tools, is one more tool. In addition, new filming facilities have been set up, such as the psychologist’s office, where the canvases used served to obscure the set. Despite how hard a shoot can be it was a great experience that was lived there and in which a great atmosphere was constantly breathed.

This is not the first time Francisco Segarra has given up his furniture for the recording of a film. Previously feature films such as J. A. Bayona’s “A Monster Comes to See Me”, have featured numerous pieces from Francisco Segarra’s vintage collection.

An atmosphere is much more than decorating a place.

Through our decoration and furniture department, we work to emphasize the raw material of the space, avoiding the introduction of foreign elements or materials. This creative design strategy guides the study in defining its participation in the development of settings. The design serves to contrast and balance the old and the new by using a contemporary material palette.

Francisco Segarra’s collaborative projects range from the use of furniture to the design of sets to large-scale events and facilities. We have also collaborated with well-known television programs such as MasterChef, La Voz or Maestros de la Costura, enriching their compositions to tell stories.