Such is the anthem of modern design in upscale furniture that has been adorning celebrity mansions and high-profile residences, thanks to the twenty-four workmen who labor to transform Baylar's visions into the utilitarian artwork that are not aspirations towards personal statements or expressions but solemn pieces that are also spontaneous, planned by man while crafted by nature herself. Only in this way can each piece be truly unique, with no two quite the same. Surfaces are not merely sanded down, but burnished by hand with broken glass to reveal nature's own eternal handicraft beneath.

George Nakashima's insight, that in a world where modernity is identified with the machine while traditions are shunned, wrote of such arts that they might even be a question of regaining one's own soul when desire and megalomania are rampant the beauty of simple things.

A commitment to the preservation of natural beauty informs Baylar's very way of working. Not just some detached admirer of nature from afar, he is deeply devoted to the exclusive use of certifiably sustainable materials in his consoles, panels, sofas, and mirrors, such as domestically sourced dead and dying lumber damaged by wind or storm. Some come from trees removed by their rightful owners in order to prevent damage to houses or other trees. Even the official recognition of foreign embassies and consulates are sought when it comes to necessary imports.