Taking care of light featuring new releases, personal designer stories and the complete collection
Scotch Club Xavier Mañosa & Mashallah, 2013
Toward the end of 1959, in Aachen, Germany, the now-famous “Scotch Club” had its opening night. The owner, seeing that the patrons were growing bored, asked a journalist to announce the songs as they were played – this was the birth of the discotheque as we know it today. The latest collaboration between Xavier Mañosa and Mashallah, the Scotch Club ceramic collection takes its inspiration from that discotheque, with a design reminiscent of the widely popular revolving disco ball. Its 72 faces reflect light from the interior in all directions, casting elegant, complex visual patterns around the room. Made from a meticulous and traditional design process, the lamps are fired four times – using glazes specifically developed for Marset – and incorporate warm, high-quality materials, such as gold. Available in white, blue, terracotta, or black ceramic, with brilliant white or gold enamel interiors, the collection includes three sizes of pendant, as well as wall and ceiling models. P. 2
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La Discrète Fabien Dumas, 2013
La Discrète aims to be something more than a light source – hidden
within its design is the clear desire to be highly useful while retaining the decorative beauty of a well made object. Perfect for use as a desk lamp or to highlight treasured items, its configuration is simple yet forceful, and contains a character we wish to preserve in the Marset line: of something time will prove to be superior and essential quality. This fixture comes with an incorporated switch for ease of use, and the wooden base, far from being employed as a fashion element, harks back to origins much more related to pieces of furniture. La Discrète can also be converted into a back-lit, wall-mounted shelf. P. 8
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Nenúfar Joan Gaspar, 2013
The outcome of the designer’s arduous quest to create a fixture that seems to float on air, the Nenúfar takes its name and its delicate shape from the water lily. The Nenúfar is a cluster of pendants, based on LED technology, made up of several discs connected by the same stem, but separated from each other in a way that the beams emitted by the different elements are not broken by the lowest component, which also projects its ray of light downwards. The result is a strong, uniform, direct beam that emerges beneath the discs of an item that is midway between decorative and architectural, and can be applied to both purposes with ease. Sober and well finished, the Nenúfar utilizes top-quality materials and the power of LED to radiate an exquisite luminosity and create warm, welcoming atmospheres. P. 12
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This fixture is in its element installed in a series – creating areas lit at different heights and with various combinations of discs – or on its own as a surprising, well balanced and subdued centerpiece. Choose from one, two, or three white or black discs supported by a polished chrome stem.
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Tam Tam Fabien Dumas, 2011
It’s a juicy bunch of grapes, Nick Mason’s drums from Pink Floyd, the constellation of Perseus… there are so many examples that could be used to describe the Tam Tam, a new perception in the world of lamps, which extols repetitiveness by focusing on the archetypal lampshade: a number of light sources pointed in different directions, geometrically arranged to invoke a feeling of organized chaos. The Tam Tam is suitable for any space. Using more than one, the sets of shades with their different positions and colours can be used to create vast, multi-coloured ceilings, each one different from any other. P. 16
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Versatile and cheerful, Tam Tam A invites you to play with colours: Black, white, orange, brown, green or sand, with the base plate always in white.
The story behind
The most important thing about the Tam Tam is maybe the fact that it enabled me to become acquainted with Javier Marset and Joan Gaspar. The very first time we met was on the Marset stand at the Light & Building 2010 Exhibition in Frankfurt. I went there six times asking for someone in charge; six times I left without meeting anyone. Business lunches, business meetings, business talks – every time a good reason for them being away from the booth and, as time went by, I thought I might have more chance of meeting them in one of the good restaurants or cafés in Frankfort rather than on the exhibition site itself. Anyway, the seventh time I got lucky. The introductions were made and we were all sitting in the “conference room”, a kind of VIP area with lounge seats and a low table, surrounded by some not very practical curtains. Soft music plus a little
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bit of alcohol and it could have been a very fancy club! However, I presented my portfolio to them – and they just laughed! For sure, the sight of my homemade photo album covered with 60’s style flowered fabric, full of taped Polaroids and covered with sketches and diverse remarks must have been quite unappealing to them. But then, something incredible happened. The more they browsed, the more interested they got. Even more than that, Javier even confessed how enjoyable it was to touch good old-fashioned plain paper, how pleasant it was to feel something thicker than an iPhone and more charming than any Power Point document. In spite of the very low budget of my presentation, I had attracted their attention. I was in and that, for me, was the key event of our first meeting; regardless of what followed, that was the precise moment when we came to know one another, that instant of surprise and joy when you realise that you and your counterpart are on the same wavelength, talking the same language.
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Pleat Box Xavier Mañosa & Mashallah, 2011
The ceramic shade of this lamp is a 100% artisan piece produced by a family pottery workshop in Barcelona. Although it is one of a series, it is hand polished and glazed and these processes mean there is a personal involvement in the creation of every lamp. The imprint of the human touch defines the character of the finished product. Our
hope is that the end user will feel this uniqueness and recognise the results of the craft process, like landscape features on its surface. The alchemy of the craft process leaves unpredictable traces, small marks in the metal glaze, tiny cracks in the polish… little flaws that mark the unique personality of every lamp.
The idea behind the Pleat Box is that of a sophisticated combination between a digitally-designed crease in a piece of cloth, the silhouette of which is applied to a ceramic base. The outer part of the lamp is offered in white ceramic, brown, black, terracotta and grey – the result of recycling different enamels. The brilliant white enamel interior creates a glitter effect, which enhances the light from the lamp. It can also be supplied in gold on the inside, which generates an extremely warm light. Pleat Box has come about through the first-ever collaboration
between Xavier Mañosa, a master ceramicist from Barcelona, and the Mashallah design studio in Berlin with Marset. P. 22
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Watch the video
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The story behind
We first came into contact with Marset, as a company, a year ago in New York, where we were showing, together with Alex Trochut, our ceramic collection in the Noho neighbourhood. Javier Marset attended the opening, where he showed considerable interest in our stuff. We chatted for a while and, in an unselfish moment, I mentioned to him that I was working on a collection of lamps with Mashallah. Back in Barcelona, we agreed to meet at my workshop one Friday morning. I clearly remember that he arrived about half an hour early and, as luck would have it, we came across each other in the small corner bar where I go for coffee every day. Javier gets straight to the point and, five minutes later, with his hands on a prototype, he told me that it was sure to sell. Both
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we and Mashallah were very happy about the proposition of Marset handling our lamp. With their help, we made a few design changes and decided on the new finishes – the interior of the lamp would be white or gold to suggest warmth and, for the outside surface, we would use the base material, showing the unglazed potter’s clay itself, in terracotta or white and in a coarse grey, the result of a recycled glaze made up from other used glazes. We have already started to manufacture the lamps, and it has its own special place in the workshop. As it is being constructed, each individual Pleat Box proves very capricious – its simple organic shape requires us to work the curves and the edges with great precision. Each one needs special pampering.
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Maranga Christophe Mathieu, 2012
Maranga is the name of a fruit, an imaginary fruit: exquisite, temp-
ting, succulent. It reinterprets scandinavian style in the essentiality of its shape and its rational use of lighting to generate a warm, comfortable atmosphere. The shade is made up of 32 slice-like pieces which fit together to allow chinks of light to escape. This interplay of light and dark generates an effect which is rich in shades of light and prevents glare, while an opening at the bottom fitted with a diffuser gives out direct light downwards. P.  28
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Watch the video
The Maranga collection is available in two diameters – 32cm and 50cm – and it comes in 3 colours: White, sand and umbra grey. P. 30
What I would highlight about Maranga is the richness of shades of light, especially with the colour versions, due to the combi nation of direct and indirect light, to the light and dark caused by the surface of the mate rial and to the different planes on which the light is reflected. Its flattened shape gives it considerable dynamism, making it visually lighter. My relationship with Marset goes back to
1996 when I designed the Compass light, which is still being made. One of the great advantages of designing for Marset is the constant search for technologically smart solutions throughout the development of a product in order to improve it, without cutting corners on investment. My goal is to create lights which transmit emotion, lights which one can in a sense fall in love with, to share your daily life.
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Discocó Christophe Mathieu, 2008
Exuberant and attractive, the Discocó range of fixtures offers an interplay of suggestive, highly effective lighting. The thirty-five abs discs lacquered in white vibrantly reflect the internal light source. On the outside, this reflection varies depending on the angle of the light, at the same time that provides direct illumination from its underside. The chromed sphere to which the metal bars holding the discs are connected, provides a new interplay of glittering re flections. P. 32
The Discocó family is available in white, turquoise blue, sand, chocolate and a new colour: black-gold.
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Watch the video
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Soho Joan Gaspar, 2010
Soho is presented as a statement, in recognition of the merits of the
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lamps traditionally used in markets, taverns and cafeterias. After studying different volumes, proportions and materials, new uses and lighting effects have emerged.
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For quite some time I had been thinking about those fantastic metal lights, used in market halls and workshops; the oldest of all even had white vitrified interior. I decided to create something with the same aesthetics, with a powerful light source, that makes it suitable for the contract market.
The use of rotary moulded polyethylene means it possible to make bigger objects, whilst applying different finishes to their surfaces, such as reinforced concrete. The Soho is a contemporary, architectural product which provides a clear, formal re minder of our industrial past. P.  40
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Nolita Joan Gaspar, 2008
Close attention to the overall proportions is crucial in the sophistication and elegance of the Nolita collection. The simplicity of its design and structure contrasts with the materials used, particularly the moulded polycarbonate for the shades with its different colours and textures. The Nolita table and floor versions allow a multiple finishings as per the colours of the diffuser in white, black or transparent, combined with the colours of the stem in black or aluminium. The shade tilts allowing different positioning of the light beam. This feature breaks the basic lamp’s silhouette slightly but in no way compromises the elegance of the light. P. 42
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Nolita Cotton Joan Gaspar, 2009
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Mercer
Joan Gaspar & Javier M. Borrás, 2005
The fusion of different materials achieves a spectacular result as its raw cotton ribboned shade floats in a transparent blown glass structure, so that the fabric provides a diffused and delicate light that mixes with the sparkling blown glass lamp. P. 46
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Min 30 cm
360º
360º Rotation 360º
Sometimes it is necessary to adapt light to specific and changing needs. The Compass has achieved this. The solution was to shift the light from the center to the periphery. A regulating system has been incorporated as well as a silicone wheel which allows concentric movements of the lamp structure, ideal for extendable lamps. P. 50
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Min 110 cm
Max 140 cm
Max 250 cm
Christophe Mathieu, 1997
Min 140 cm
Compass
Range of positions · Adjustable height Max 100 cm
360º
Cala Joan Gaspar, 2012
Everybody likes a warm, comfortable light. This is exactly what the new Cala lamp achieves by means of the combination of its light but resistant structure in oak wood, inspired by the classic artist’s easel, and its pearl white polyester shade. It is available in three sizes – 140cm, 165cm and 180cm. Next to a sofa or an armchair is the ideal place for the smallest version, whereas the other two models have been conceived as general lighting in more open spaces. P. 52
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Funiculí Lluís Porqueras, 1979 / 2012
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Funiculí is a new edition of a lamp designed in 1979. Lluís Porqueras
Watch the video
has always sought an absolute simplicity in his designs, doing away with everything superfluous to leave the essence of the useful, simple object. 30 years on, Funiculí remains highly contemporary, both in its purist forms and in its features. P. 60
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Scantling Mathias Hahn, 2010
A combination of basic geometric shapes and the use of wood toge ther with metal give this range of lamps a homely appearance, at the same time as a clearly defined personality. All of the movements of the fully rotating shade use arms and hinges, and its technical precision means that springs or counterweights are not necessary in order to maintain the selected position. Scantling is a term used to define the size to which a piece of wood or stone is measured and cut, derived from the name of an old unit of measurement. The interplay of the different elements used in its design gives this lamp an archetypal, almost graphic appearance. P.  62
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Watch the video
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Cotton Javier M. Borrás, 1998
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Camp Jakob Timpe, 2004
Atila Joan Gaspar, 2006
The flexibility of its neck reproduces the movement of the straws used to drink sodas
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Polo Joan Gaspar, 2012
Watch the video
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Clea
Christophe Mathieu, 2006
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Ledtube Daniel López, 2009
Ledtube is an orientable wall lamp which incorporates 3W 2700ºK
LED technology and a 24º lens that direct a sharp beam of light. It combines plan and cylindrical shapes made of injected alumi nium and a frontal part made of transparent polycarbonate. Due to its architectural and functional design, Ledtube can be installed vertically or horizontally and it is suitable as a built-in bedside lamp or as a surface wall lamp. P. 76
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Light comes on automatically when Ledtube is opened and goes off when closed.
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Ledtube R Daniel López, 2012
Incorporated press button to switch on or off when opening or closing the wall lamp. P. 80
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Ledcompass Joan Gaspar, 2012
This orientable system of LED reading lights is based on a compasstype joint, which allows the light to be easily set to point in any direction. Inspired by the ventilation nozzles on airliners, the Ledcompass collection is easy and intuitive to handle, as its LED technology enables users to aim the light without burning themselves. P.  82
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Ledpipe Joan Gaspar, 2005
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204
Marset team, 1985
Topolina
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Christophe Mathieu, 2000
Continua Christophe Mathieu, 2010
It is possible to personalise the film and combine it with any type of wall finish (colours, wallpaper, wood or fabric).
A system that connects modules of different lengths to create a line of continuous lighting.
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Scene Joan Gaspar, 2012
Zoo
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Lagranja, 2008
Silo
Plaff-on! Joan Gaspar, 2010
Cristian Díez, 1996
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Big Mouse Joan Gaspar, 2006
Moma Christophe Mathieu, 1999
Viga Mini Joan Gaspar, 1992
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Manhattan T5 Joan Gaspar, 2005
Manhattan
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Joan Gaspar, 1996
Beta Marset team, 1996
Espejito, espejito...
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Joan Gaspar, 2005
Continua Christophe Mathieu, 2010
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Cala Joan Gaspar, 2012
Creating a warm, comfortable indoor atmosphere in an outdoor space. This is the aim of Cala, a highly decorative light with a structure which draws on the simplicity of metal café tables or the classic painter’s trestle. The rotary moulded polyethylene shade is enclosed in a zipped textilene sleeve. P. 102
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The idea was to make a decorative outdoor light fitting, following on from TXL and incorporating the positive aspects of the concept. To produce the shade, for both practical and economical reasons, I had to use rotary moulded polyethylene. This material is ideal for creating volumes P.  104
and solving problems of waterproofing. It occurred to me to fit a cloth sleeve over the outside using a zip, allowing me to filter the light and give the whole fitting a higher-quality appearance, bringing the lamp closer to the idea of an indoor light fitting.
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Lab
Francesc Rifé, 2012
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TXL
Joan Gaspar, 2007
Designed to illuminate gardens and terraces, TXL emits an extremely warm light, just like an indoor lamp. Tough and impressive, the floor version sits on a slate base which supports a voluminous shade made in fibre-glass coating with a plastic material. The pendant version stands out for its lightness and is suitable for illuminating outdoor tables. P.  110
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The pendant version stands out for its lightness and is suitable for illuminating outdoor tables. P.  114
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Duna Antonio Miró, 2006
Nagy Joan Verdugo, 2006
In the search for the essence of lighting, Duna is based on the idea of the torches which our forefathers used to brighten their existence.Its flowerpot-style base is filled with sand which gives it a style particularly suited to gardens and terraces. P. 116
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Neón de Luz Joan Gaspar, 2004
Néon de Luz marks an inflexion point in the conventional fluorescent
systems as it abandons the coldness that distinguishes fluorescent lighting by adding chrome to a transparent polycarbonate structure: a polycarbonate conduit with subtle lit coloured strips and a polycarbonate film which gives the light and product a much finer quality. P. 118
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Atlas Joan Gaspar, 2000
Atlas transforms a common bulb into a spotlight, enveloping it fol-
lowing its outline. Taking its nudity as the starting point, it dresses the bulb up with a transparent suit that also gives the lamp the added benefit of lightness. P.  120
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There are excellent light bulbs with LED technology that perfectly fit the Atlas.
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R. Axis Joan Gaspar, 2007
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SQ. Axis Joan Gaspar, 2006
SQ. Axis is a built-in spotlight system combining the latest technology with a meticulous design in order to meet many lighting engineering requirements. It stands out by way of its up to date aesthetics and its lighting performance, fitting into domestic and business environments perfectly.
SQ.Axis 10
SQ.Axis 13.1
SQ.Axis 19.1
SQ.Axis 13.2
SQ.Axis 19.2
Factory & Headquarters
Alfonso XII, 429-431 08918 Badalona (Spain) T +34 934 602 067 F +34 934 601 089 info@marset.com P. 126
Barcelona Showroom
Santaló, 56 08021 Barcelona (Spain) T +34 932 005 726 press@marset.com P. 127
Marset USA
20 West 22nd Street – Suite 912 New York, NY 10010 T +1 646 727 4250 F +1 646 304 6959 marsetusa@marset.com
Design & art direction: Folch Studio / Cover illustration: Max Dalton
www.marset.com