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 origins. 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. Ac-

cording to the experts, the wetlands 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 associated with life, creation and evo-

lution.

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, be-

cause something was missing in the world of bathrooms.

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 project

specifications, for hotel establishments or to furnish

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