INTERVIEW

A large blue door with a glass window presides over the entrance to the Lázaro

Rosa-Violan’s Studio on Ronda Sant Pere, in the centre of Barcelona. Once it

opens, you enter a new atmosphere full of objects that whisper stories all by

themselves. Wherever you look, it’s all overwhelming. A large fan with giant

black blades hangs from a high, pristine white ceiling. Underneath, a dinosaur

skeleton separates the lobby from the primary work area. It’s not an office, in

spite of the more than 100 employees with large computer screens. It’s as if it were

a completely living museum, where an infinite number of styles are displayed,

where objects that were never lost are recovered, where new spaces are drawn

and conceived that will ultimately bear the LRV signature. Straight from his

house in Palamós, on the Costa Brava, we are welcomed by Lázaro Rosa-Violán,

accompanied by some of his contributors. He is a friendly person, with a sincere

look. He likes calm, intimate chats, one-on-one. He finds a corner of the studio

with a little peace and quiet and naturally starts the conversation, with two freshly

made coffees on the table in porcelain cups with a houndstooth pattern.

Lázaro

Rosa-Violán

You say that behind every project is a story or plot. What

story does the new EDA collection of bathroom acces-

sories by Lázaro Rosa-Violán for POMD'OR tell?

LRV: Our plot line is based on the times in

which we live, where importance is given to anything

natural. We are bringing back the vegetative state,

because we see that it’s necessary to return to our or-

igins. And that has been the origin of the collection.

We started with natural references to shape certain

accessories that have a hint of the typical vegetation

found in a wetland. According to the experts, the wet-

lands are considered to be the most fertile ecosystems

in the biosphere, and are formed by those reed-shaped

plants similar to bamboo. There are several reserves

in our country, so the story of EDA starts based on the

resources that nature offers us in our own land. They

are also plants that, because of their great proliferation

and density, have an intrinsic property: that of serving

as protection for fauna. Bear in mind that many birds

nest in the reed beds, so it has a meaning closely asso-

ciated with life, creation and evolution.

What was the creative process like for EDA? From the

time the concept came about until it became a family

of products for the bathroom.

LRV: Well, the truth is that it was clear to me

from the very beginning. I had an idea to develop,

because something was missing in the world of bath-

rooms. I had the need to create a collection that had a

figurative accent related to nature, and I think we have

achieved this in a very subtle manner. It is in the shadow

effect where this gesture is most noticeable. The magic

of the EDA pieces is in the drawing of their silhouette.

In what type of bathroom do you imagine EDA?

LRV: EDA is a range that can be used for pro-

ject specifications, for hotel establishments or to fur-

nish private homes. It is a collection with soul, that

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