Curvados Andreu quickly became a medium-sized company with 40 workers undertaking the complete production and upholstering process, creating a series of chairs with turned, rounded legs, and imposing, solemn shapes. The company continued to grow, and colonised nearby workshops. The sales network was already being set up. They sold chairs throughout Spain and production continued to increase. “It was a period in which we worked without catalogues, with people loading chairs into their cars, and production levels were the mainstay of the company. We needed to increase them, and this need took us back to raw material requirements, beechwood supplies.” Beechwood. And security and reliability in terms of raw material was another of the keynotes in the slow but sure development of this company. “I believed that beechwood was vulgar. At least until I tried to improve the wood in our chairs, and after visiting Singapore, Malaysia, Indonesia and Brazil, where I saw that not only was it not vulgar, but in fact it was the best kind of wood. The other woods could not be bent in the same way, tropical woods had pores that were too open, and among domestic woods, oak didn't bend properly, it broke, and mahogany wrinkled. Beech was compact, hard but elastic; it had closed pores and a good price. For us it was the best kind of wood.” Francisco Andreu didn't learn about wood from books, but rather by working with it, testing it, challenging it. And it was precisely the wood that sparked off the next step forward in the development of the company. After locating a good beechwood forest in Navarre, they set up a sawmill to supply the factory in Valencia. One year later, they built another factory in Eulate, next to the sawmill, which they called Andreu Nort. This new name, with its geographical connotations, served to rename the old factory in Alacuás, which after remodelling and extension, became Andreu Est.

In the 70s design came to Andreu World. Industrial designers arrived, and graphic designers as well, to update the company’s corporate identity and communications. Curvados Andreu became Andreu World, whose current logo was commissioned to the prestigious graphic designer, Mario Eskenazi, winner of the National Design Award. The pictogram came from a combination of various symbols, among them the Compasso d’Oro. The 50th anniversary commemorative version of the logo is the work of designer Antonio Solaz.

But once again it was travel that would decide the destiny of the company. Machinery was as important as raw material, and wood became as fundamental as design. In 1972, the company imported sophisticated machinery for warehousing and merchandise dispatch of the kind he had seen at the Hannover and Basel fairs, and it is machinery of this kind that is still used to organise the company's main warehouse. “When we started we had a list of priorities that we eventually began to tick off and fulfil. When we had achieved them all, we sat down to draw up the new list of objectives, even if they weren’t such a priority. They were more like bids.” It was at that time, with priorities mostly covered, when design made its debut at the firm. Or perhaps the firm in the world of design. It was a double challenge. “A personal decision: all the companies that inspired admiration in me had made design their main factor.” And a corporate solution: they needed to grow. After analysis and discussion with the sales department, the conclusion was reached that “we should draw up two catalogues. Maintain our old customers and conceive of a new production line”. For the chairs they wanted to make they needed new customers, and to achieve these they needed a new voice. A different presence on the market. A different catalogue. And this is when Iberchair and Slae were founded – two sale lines emphasizing design and export capabilities. And then a long list of distinguished regional product designers began to parade into the company´s factory located in the town of Alacuás. Ximo Roca was one of the pioneers, together with Vicente Soto and Angel Martí. “But companies are not just numbers or designers, or even products. They are combinations of many factors that all count.” Thanks to all the people who worked at the company, a rebirth was made with the founding of Andreu World, the company that was redubbed at the start of its export history, fully dedicated to designer furniture. This was the objective and the new challenge. It was at the end of the 80s and in the early 90s when designers like Lluscá, Quod, Pensi, Pete Sans, Josep Mora, Nancy Robbins, Bernal and Isern, Pedro Miralles and Alberto Lievore started contributing to a catalogue of international stature.