My love for design started early. I was always drawing small houses, so much so that my art teacher asked me to draw something different! I studied Technical Architecture, then Interior Design, and later Art Direction, which taught me to approach problems from different angles and keep experimenting until finding a good result. The name Colapso comes from a joke with my Master’s classmates. We were so overwhelmed by our assignments that we joked we were going to “collapse.” Someone said it would be a great name if I ever started my own studio. Years later, it stuck.

Barcelona is a cosmopolitan city with a strong Northern European influence, but also a distinctly Mediterranean character, with the sea and the mountains in the same city. I’m also influenced by the industrial character of Poblenou, the neighbourhood where I live, and its mix of old and new. I’m drawn to simplicity, not minimalism for its own sake, but things that feel considered, balanced and not overdone. Good design is something that stays with you, grows on you, and remains relevant for years to come.

For the NYC showroom, we designed a display system for Sundays’ fabric samples using interlacing wooden slats, and painted the whole structure a pale burgundy so it had presence without competing with the furniture. After seeing the result, Noah Morse, Co-Founder and Head of Product at Sundays, asked about developing a version for the home. Rather than a single piece, I saw an opportunity to create a whole family of pieces based on the same language.

I kept the vertical wooden slats from the showroom display, and the main change was adding circular bars to support the shelving. The collection also reflects an influence from Japan, following a recent trip. I became interested in the idea that a piece can be assembled through a precise relationship between its parts, without added screws. Long Story feels simple because the complexity has been resolved within the construction itself.

Both collections begin with two basic shapes: the square and the circle. The square establishes the structure, and the circle is the counterpoint, a softer, more human gesture. In Long Story, the circle appears as the structural bars that support the shelves. In Building Block, it becomes the drawer handle, the point of contact between the object and the person using it. In one, it connects the object; in the other, it connects the object to the user.

Although they have different needs, the process is not so different. It starts with truly understanding our clients: their needs, their way of life or work, and the relationships between family or team members. In residential projects, you can improve someone’s quality of life by making everyday routines easier and more meaningful through thoughtful details. In retail, you help entrepreneurs bring their vision to life. I see both as a privilege.

I see colour and texture as essential tools for creating atmosphere and giving a space its own identity. For me, timelessness doesn’t mean everything has to be white or beige. A space should feel warm and enduring, but also playful; it should bring you joy. A bathroom, for example, is a place where I think there should always be something unexpected, a detail that makes you smile.

The Long Story Single Shelf. Living in European city centres often means dealing with smaller spaces, so I appreciate furniture that makes the most of every centimetre. I don’t use a bedside table for storage, but as a small surface for a book, and a place to leave my phone and glasses at night. The shelf keeps the floor clear, which I love.