Marset by Juka

katalog catalogue 16/17

8 — 71

Pendant · Suspensión

74 — 107

Floor · Pie

70 Atlas

18 Discocó

8 Ginger

84 Cala

88 Funiculí

74 Ginger

114 FollowMe

128 Funiculí

110 Ginger

132 La Discrète

202 Continua

164 Discocó

158 Funiculí

150 Ginger

186 Polo

156 Scantling

200 Scene

190 Scotch Club

194 Tam Tam

216 Maranga

218 Mercer

224 Plaff-on!

212 Polo

220 Scotch Club

38 Hazy Day

42 Maranga

74 Ginger

52 Mercer

56 Nenúfar

50 Neón de Luz

66 Nolita

68 Nolita Cotton

104 Maranga

100 Nolita

102 Nolita Cotton

94 Polo

96 Scantling

144 Mercer

124 Nolita

126 Nolita Cotton

134 Polo

138 Scantling

26 Pleat Box

32 Scotch Club

44 Soho

12 Tam Tam

80 Tam Tam

110 — 147

Table · Sobremesa

150 — 209

178 Nolita

212 — 231

228 Atlas

Wall · Pared

Ceiling · Techo

180 Nolita Cotton

214 Discocó

142 Maranga

182 Ledcompass

150 Ginger

234 — 267

Outdoor · Exterior

250 Cala

262 Lab

234 Santorini

244 Soho

256 TXL

166 Ledtube

222 Soho

172 Ledtube R

184 Ledpipe

206 Manhattan T5

198 Mercer

208 Neón de Luz

Pendant Suspensiรณn

Ginger Wood is a great ally of cozy lighting. It is a material that is hard to mold, a challenge that the Ginger collection neatly resolves. The combination of sheets of wood and paper pressed together under high pressure achieves a laminate that appears almost entirely flat, which discreetly lights up spaces with indirect light. The Ginger collection has been expanded to include larger table and pendant versions, versions with moveable arms, an unobtrusive wall lamp and another wall version with movable arm.

La madera es una gran aliada de la iluminación más intimista, un material complicado de moldear que la colección Ginger resuelve con nitidez. La combinación de láminas de madera y papel prensados a alta presión consigue una luminaria de aspecto casi plano, sobrio, que ilumina los espacios con luz indirecta desde una presencia leve. Este año la colección Ginger se amplía con dos versiones de pie de aspecto contundente con brazo móvil, un tamaño mayor de sobremesa y de suspensión, un aplique sencillo y una versión de pared con brazo móvil.

Pendant · Suspensión

Ginger — Joan Gaspar, 2014

Pressed wood diffuser of 4 mm in natural oak or wenge. Injected and lacquered black matte aluminium dissipater.

Difusor de madera prensada de 4 mm en roble natural o wengué. Disipador de aluminio inyectado y lacado negro mate.

Oak · Roble

Ginger 32

Wenge · Wengué

LED SMD 7,8W 700mA 2700K 1066lm (included · incluido) Ginger 42 LED SMD 15,4W 700mA 2700K 2130lm (included · incluido) Ginger 60 LED SMD 20,8W 700mA 2700K 3023lm (included · incluido)

11,8cm

ø32cm

200cm

Ginger 60

8,6cm

200cm

Ginger 42

6cm

200cm

Ginger 32

ø42cm ø60cm

Black electrical cord · Cable eléctrico en negro Recessed canopy available · Disponible con florón empotrable

Dimmable

Range · Colección p.74

p.110

Pendant · Suspensión

p.150

Ginger — Joan Gaspar, 2014

Tam Tam 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 consists of a central shade in lacquered aluminium, to which are attached various satellite shades which can be rotated through 360º by means of a swivel mechanism. An opalescent, methacrylate diffuser softens the light. Tam Tam is available as a suspension lamp in two sizes: a regular size with either 3 or 5 satellite shades and a mini size with 3 satellite shades. The central shade is available in black or off-white, and the satellite shades can be combined in black, off-white, orange, brown, green, sand and blue. The colorful and sonorous Tam Tam now comes in a new linear version that retains its fun, dynamic roots. The new pendant models have been simplified with the addition of a hanging pole to which colored lampshades are attached that can be oriented in any direction and come in a variety of colors. These new members of the Tam Tam family fit more multipurpose spaces, either long or narrow, lighting bars or dining tables.

Es un jugoso racimo de uvas, los tambores de Nick Mason de Pink Floyd, la constelación de Perseo…. tantos ejemplos que podrían ilustrar la Tam Tam, un nuevo concepto de lámpara que exalta la repetición en la concentración del arquetipo de pantalla: varias fuentes de luz orientadas en distintas direcciones, geométricamente colocadas para evocar el caos. Tam Tam se compone de una gran pantalla central de aluminio lacado, a la que se unen varias pantallas satélites que pueden orientarse 360º en cualquier posición, gracias a un mecanismo de rotación. En su parte inferior, un difusor opal de metacrilato tamiza la luz. Está disponible en dos tamaños: un tamaño estándar con 3 o 5 pantallas satélites, y una versión mini con 3 pantallas satélites. En todas las versiones, la pantalla central está disponible en blanco o negro, y las pantallas satélites se pueden personalizar con el color que uno quiera, a escoger entre negro, blanco roto, naranja, marrón, verde, arena y azul. La colorista y sonora Tam Tam se presenta ahora en su versión más lineal sin perder su origen dinámico y divertido. Los nuevos modelos de suspensión se simplifican con la incorporación de una estructura tubular a la que se sujetan varias pantallas que pueden orientarse en cualquier dirección y con colores diversos. Estos nuevos miembros de la colección Tam Tam se ajustan a espacios más polivalentes, alargados o estrechos, en la barra de un bar o iluminando una zona de paso.

Pendant · Suspensión

Tam Tam — Fabien Dumas, 2011

A large central shade in lacquered aluminium, to which are attached various satellite shades that can be rotated through 360º. An opalescent methacrylate diffuser over the open end softens the light.

Central Shade · Pantalla Central

Gran pantalla central de aluminio lacado, a la que se unen varias pantallas satélite que pueden orientarse 360º en cualquier posición. En su parte inferior, un difusor de metacrilato opal tamiza la luz.

Tam Tam Mini

Black · Negro (Ral 9011)

5x E14 HSGSP/C/UB 46W

Off-white · Blanco roto (Ral 1013)

5x E14 LED 5W 5x E14 FBT 15W

Satelite Shade · Pantalla Satélite Tam Tam 3

Black · Negro (Ral 9011) Off-white · Blanco roto (Ral 1013)

9x E27 HSGSA/C/V 46W

Orange · Naranja (Ral 2000)

9x E27 LED Standard 8W 9x E27 FBT 18W

Brown grey · Marrón gris (Ral 7013) Green · Verde (Ral 6025)

Tam Tam 5

Sand · Arena (Ral 7032)

13x E27 HSGSA/C/V 46W

Blue · Azul (Ral 5024)

13x E27 LED Standard 8W 13x E27 FBT 18W

Tam Tam 3

Tam Tam 5

ø50cm

102,7cm

ø50cm

66cm

ø35cm

34,9cm

300cm

cm 22

57,5cm

102,7cm

26cm

200cm

34,9cm 300cm

Tam Tam Mini

85,9cm 105,5cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.80

Pendant · Suspensión

p.194

Tam Tam — Fabien Dumas, 2011

Estructura de metal lacado en negro. Pantallas de aluminio lacado orientables 360º en cualquier posición. En su parte inferior, un difusor de metacrilato opal tamiza la luz. Cada pantalla se puede personalizar en negro, blanco roto, naranja, gris marrón, verde, arena y azul.

Metal structure lacquered in black. Lacquered aluminium lampshades adjustable 360º in any direction. An opal methacrylate diffuser softens the light. Each lampshade can be personalized in black, off-white, orange, brown grey, green, sand and blue.

Stem · Barra

Tam Tam 4 4x E14 HSGSP/C/UB 46W

Black · Negro (Ral 9011)

4x E14 LED 5W Shades · Pantallas

4x E14 FBT 15W

Black · Negro (Ral 9011) Off-white · Blanco roto (Ral 1013)

Tam Tam 6

Orange · Naranja (Ral 2000)

6x E14 HSGSP/C/UB 46W

Brown grey · Marrón gris (Ral 7013)

6x E14 LED 5W

Green · Verde (Ral 6025)

6x E14 FBT 15W

Sand · Arena (Ral 7032) Blue · Azul (Ral 5024)

Tam Tam 6

Max. 2m

Tam Tam 4

217cm

46cm

2c m

m 2c

ø2

46cm

145cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.80

Pendant · Suspensión

p.194

Tam Tam — Fabien Dumas, 2015

Discocó Exuberant even when turned off, the richness of the light issuing from the Discocó lamp provides direct downward illumination along with a dramatic play of lights and soft shadows. Its detailed study of incident light and light that bounces off of both sides of the discs provide the lamp with an appealing gradation of light nuances and depth. Further reflections dance off the chrome-covered sphere at the core, where the discs are anchored. When the light is turned off, it retains its attractive presence, hinting at the expansion of energy that is fully expressed when it is turned on.

Exuberante, también cuando está apagada, la riqueza de luz que emite la lámpara Discocó procura una iluminación directa descendente y, al mismo tiempo, un efectista juego de luces y suaves sombreados. Su detallado estudio de la luz incidente y rebotada en ambas caras de los discos que la componen, da una atractiva graduación de matices lumínicos y profundidad a la pieza. La esfera cromada del núcleo, donde se anclan los discos, aporta reflejos suplementarios. Apagada la lámpara preserva su atractiva presencia, sugiriendo esa expansión de energía que cobra todo el sentido al utilizarla.

Pendant · Suspensión

Discocó — Christophe Mathieu, 2008

35 opaque discs made in moulded ABS. Chrome sphere.

35 discos de ABS inyectado. Esfera cromada.

Discocó 35

White · Blanco (Ral 9003) Matte grey · Gris mate (Ral 7037)

E14 HSGSP/C/UB 46W

Matte beige · Beige mate (Ral 1001)

E14 LED 5W

Discocó 88 3x E27 HSGSA/C/UB 77W 3x E27 LED Globe (ø120) 14W

Black-Gold · Negro-Oro (Ral 9004-Gold) Discocó 53

Discocó 132 6x E27 LED Globe (ø120) 14W

E27 HSGSA/C/UB 116W E27 LED Globe (ø120) 14W Discocó 68 3x E27 HSGSA/C/UB 57W 3x E27 LED Globe (ø120) 14W

Discocó 53

Discocó 68

ø35,2cm

52,1cm

42,5cm

28cm

200cm

Discocó 35

ø53cm ø68cm

Discocó 132

102,2cm

68cm

300cm

350cm

Discocó 88

ø88cm ø132cm

White electrical cord · Cable eléctrico en blanco Range · Colección p.214

Pendant · Suspensión

p.164

Discocó — Christophe Mathieu, 2008

Pendant · Suspensión

Discocó — Christophe Mathieu, 2008

Pendant · Suspensión

Discocó — Christophe Mathieu, 2008

Pleat Box The idea behind the Pleat Box is that of a sophisticated crease in a piece of cloth, digitally designed and applied to a ceramic base. The ceramic shade is offered in white, brown, black, grey, and terracotta—the result of recycling different enamels. The interior is available in brilliant white enamel, which enhances the luminous light from the lamp, or 24k gold, which generates an extremely warm light. The Pleat Box is the result of the first-ever collaboration between Xavier Mañosa (a master ceramicist from Barcelona), the Mashallah design studio in Berlin, and Marset.

El concepto de Pleat Box parte de un juego formal en el que tras diseñar digitalmente la caída del pliegue textil se aplica la silueta al material cerámico. El exterior de la lámpara se ofrece en cerámica blanca, marrón, negro, terracota y gris –resultado de reciclar diferentes esmaltes. El interior es de esmalte blanco brillante, que emite unos destellos que enriquecen la luz de la lámpara, o en oro de 24k generando una luz extremadamente cálida. Pleat Box es el resultado de la primera colaboración entre Xavier Mañosa (artesano ceramista de Barcelona) y Mashallah (estudio de diseño de Berlín) con Marset.

Pendant · Suspensión

Pleat Box — Xavier Mañosa & Mashallah, 2011

Ceramic diffuser with an interior of brilliant white enamel or gold. Ceramic canopy.

Pantalla de cerámica con el interior de esmalte blanco u oro. Florón de cerámica.

Pleat Box 13

White · Blanco White-Gold · Blanco-Oro

E27 HSGSA/C/UB 30W

Grey-White · Gris-Blanco

E27 LED Reflector 8W

Grey-Gold · Gris-Oro

E27 FBA 15W

Terracotta-White · Terracota-Blanco Pleat Box 24

Terracotta-Gold · Terracota-Oro Black-White · Negro-Blanco

E14 HSGSP/C/UB 30W

Black-Gold · Negro-Oro

E14 LED 5W

Brown-White · Marrón-Blanco Pleat Box 36

Brown-Gold · Marrón-Oro

E14 HSGSP/C/UB 46W E14 LED 5W Pleat Box 47 E27 HSGSA/C/UB 77W E27 LED Standard 8W E27 FBA 15W

Pleat Box 47

200cm ø21cm

ø34cm

26cm

16cm

18cm

26cm ø11,5cm

Pleat Box 36

200cm

Pleat Box 24

200cm

Pleat Box 13

ø44cm

White fabric electrical cord whenever the inner part or the outer part of the lamp is white. If not, the fabric electrical cord is black · Cable eléctrico textil en blanco siempre y cuando la parte interna o externa de la lámpara sea blanca. Si no, el cable textil es negro

Pendant · Suspensión

Pleat Box — Xavier Mañosa & Mashallah, 2011

Scotch Club The warmth of the fixture’s ceramics contrasts with the faceted edges of the sphere, making it seem as if it is winking playfully. Made using a meticulous, traditional design process, the lamps are fired four times —using glazes specifically developed for this collection— and incorporate warm, highquality materials, such as gold. Available in white, blue, terracotta, or black ceramic, with brilliant white or gold enamel interiors, the pendant collection’s three sizes —17, 26 and 41 cm— allow one to create sculptures in the air. The collection is completed with a ceiling model and two wall models.

La calidez de la cerámica contrasta con las aristas de la esfera faceteada, que nos hace un guiño lúdico. El cuidado proceso de producción artesanal consigue unas lámparas forjadas cuatro veces en el horno, con diferentes esmaltes creados especialmente para la colección y con materiales tan nobles y cálidos como el oro. El exterior de la lámpara está disponible en cerámica blanca, azul, terracota y negro, y el interior es de esmalte blanco brillante u oro. La colección de suspensión se presenta en tres tamaños de diámetros 17, 26 y 41 cm que nos permiten crear esculturas aéreas. La colección se completa con una versión de techo y dos apliques de pared.

Pendant · Suspensión

Scotch Club — Xavier Mañosa & Mashallah, 2013

Ceramic diffuser with an interior of brilliant white enamel or gold. Ceramic canopy.

Pantalla de cerámica con el interior de esmalte blanco u oro. Florón de cerámica.

Scotch Club 17

White · Blanco White-Gold · Blanco-Oro

G9 ECO 20W

Blue-White · Azul-Blanco

G9 LED 2,2W

Blue-Gold · Azul-Oro Scotch Club 26

Terracotta-White · Terracota-Blanco Terracotta-Gold · Terracota-Oro

E27 HSGSA/C/UB 57W

Black-White · Negro-Blanco

E27 LED Standard 8W

Black-Gold · Negro-Oro

E27 FBA 15W Scotch Club 41 E27 HSGSA/C/UB 77W E27 LED Standard 8W E27 FBA 15W

Scotch Club 26

13,5cm

200cm

7,2cm

13,5cm

34,1cm

ø13,9cm

22,1cm

14,3cm

200cm

7,2cm

13,5cm

Scotch Club 41

7,2cm

Scotch Club 17

ø17,4cm ø21,3cm

ø33cm

ø26,5cm

ø41,2cm

White fabric electrical cord whenever the inner part or the outer part of the lamp is white. If not, the fabric electrical cord is black · Cable eléctrico textil blanco siempre y cuando la parte interna o externa de la lámpara sea blanca. Si no, el cable textil es negro Range · Colección p.220

Pendant · Suspensión

p.190

Scotch Club — Xavier Mañosa & Mashallah, 2013

Hazy Day Hazy Day is the outcome of a delicate study of light and its diffusion, inspired by that time of day when the sun has not yet come up and the light of the sky is filtered through the haze. As a hanging lamp, the opal glass ball fades from a sandy matte to a shiny transparent finish at the small curvature that rounds out the lampshade. This detail breaks up the essential geometry of the sphere and harkens back to the technical procedure of glassblowing, the technique used to craft it.

Hazy Day es la consecuencia de un delicado estudio de la luz y su difusión, inspirado en ese momento del día cuando el sol todavía no ha salido y la luz del cielo llega filtrada por la neblina. Como lámpara de suspensión, el globo de vidrio presenta un degradado que va de la calidad mate del arenado hasta la transparencia brillante en la pequeña curvatura que remata la pantalla. Este detalle rompe la geometría esencial de la esfera y remite a la técnica manual del soplado de vidrio.

A blown glass globe that fades from a sandy gradation to transparency. The lower part of the glass ends in a transparent curvature that shows glimpses of the bulb. White matte metal supports.

Globo de cristal soplado transparente con un degradado arenado hasta la transparencia. La parte inferior del cristal termina en una curvatura transparente que deja entrever la bombilla. Soportes metálicos en blanco mate.

Translucent · Transparent

Hazy Day 44

E27 LED Globe (ø95) 12W

E27 LED Globe (ø120) 14W

E27 FBA (ø98) 15W

E27 FBA (ø120) 23W

Hazy Day 44

ø32cm

32,4cm

23,4cm

200cm

Hazy Day 32

ø44cm

White electrical cord · Cable eléctrico en blanco

Pendant · Suspensión

Hazy Day — Uli Budde, 2014

From certain vantage points, the downward-shifted position of the bulb and the bottom curvature generate a provocative sense that there is a double source of light. La posición de la bombilla desplazada hacia abajo y la curvatura inferior, generan un sugerente efecto de duplicidad de la fuente de luz desde ciertos ángulos de visión. 40

Pendant · Suspensión

Hazy Day — Uli Budde, 2014

Maranga Maranga is the name of an imaginary fruit: exquisite, tempting, 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.

Maranga es nombre de fruta inventada: exquisita, incitante, suculenta. Reinterpreta el estilo escandinavo en cuanto a la esencialidad de la forma y el uso racional de la iluminación para generar un ambiente cálido y confortable. La pantalla está formada por 32 piezas a modo de gajos que se intercalan entre sí dejando escapar resquicios de luz. Este juego de claroscuros genera un efecto rico en matices luminosos e impide el deslumbramiento, al tiempo que la abertura inferior, provista de un difusor, emite luz directa hacia abajo.

A shade made up of 32 polycarbonate sections, all attached to an upper chromed metal cover. Underneath there is a transparent polycarbonate diffuser with a prismatic engraving.

Pantalla compuesta de 32 piezas de policarbonato unidas entre sí a una tapa superior de metal cromado. En la parte inferior, un difusor de policarbonato transparente con grabado prismático.

Maranga 32

White · Blanco (Ral 9003)

Maranga 50

2x E14 HSGSP/C/UB 46W

3x E27 HSGSA/C/UB 77W

2x E14 LED 5W

3x E27 LED Standard 8W

2x E14 FBT 15W

Maranga 50

11,5cm

200cm

Maranga 32

3x E27 FBT 18W

16cm

ø32cm

ø50cm

Translucent electrical cord · Cable eléctrico transparente

Range · Colección p.216

Pendant · Suspensión

p.142

p.104

Maranga — Christophe Mathieu, 2012

Soho Soho is presented as a statement, in recognition of the merits of the lamps traditionally used in markets, taverns and cafeterias. After studying different volumes, proportions and materials, new uses and lighting effects have emerged. Thanks to the use of rotary moulded polyethylene, large sizes can be obtained. With a diameter of 112 cm, it has been conceived for large spaces, while the 57 cm model is ideal for lighting a dining table. A high-performance perspex diffuser produces an excellent, evenly distributed light quality. In the translucent white version, the whole structure emits ambient light. An outdoor model is also available for illuminating porches, gardens and terraces or open-air dining areas.

Soho se presenta como un alegato. Es un reconocimiento a los méritos de esa lámpara empleada tradicionalmente en mercados, tabernas y cafeterías. Tras reflexionar entorno a volúmenes, proporciones y materiales han surgido nuevos usos y efectos lumínicos. El empleo de polietileno rotomoldeado permite una pieza de gran tamaño. Con diámetro de 112 cm se ha concebido para grandes espacios, mientras que la de 57 cm ilumina perfectamente una mesa de comedor. Un difusor de metacrilato de alto rendimiento procura una excelente luz, homogéneamente tamizada. En la versión translúcida blanca, todo el cuerpo se convierte en emisor de luz ambiente. También se produce el modelo de exterior, para iluminar porches, jardines y terrazas o comedores al aire libre.

Pendant · Suspensión

Soho — Joan Gaspar, 2010

Shade in rotary moulded polyethylene. Methacrylate opal diffuser.

Pantalla de polietileno rotomoldeado. Difusor de metacrilato opal.

Soho 57

White · Blanco Stone grey · Gris piedra

T5-C 22W+40W

Black · Negro

T5-C 40W LED SMD 28,1W 700mA 2700K* 3800lm Soho 112 8x T5 24W LED SMD 127,2W 300mA 2700K* 16680lm 5x G53 QR111 35-50W 12V +

Soho 112

30,5cm

300cm

200cm

Soho 57

T5 22+40W

60,7cm

ø57cm

ø112,6cm

Black or white electrical cord, depending on the colour of the model · Cable eléctrico en negro o blanco, en función del color del modelo Soho 112 RGB LED available upon request · Disponible Soho 112 RGB LED bajo pedido 3000K available upon request · bajo pedido * Only LED version · Sólo en versiones LED Dimmable *

Range · Colección p.222

Pendant · Suspensión

p.244

Soho — Joan Gaspar, 2010

In the 112 cm version, the adjustable spotlights provide direct lighting, in addition to the diffused light emitted by the shade. En la versión de 112 cm, los focos direccionables ofrecen una luz más directa, además de la luz difusa que emite la pantalla. 48

Pendant · Suspensión

Soho — Joan Gaspar, 2010

Neón de Luz Neón de Luz is a very versatile lamp, highly recommendable for places that require continuous lighting due to its low consumption. The light source is made of a high efficiency LED technology enclosed in a polycarbonate conduit with an inner aluminium reflector. It can be used as a wall lamp or as a hanging lamp.

Neón de Luz es una lámpara de gran versatilidad, muy recomendable para lugares que necesiten de una iluminación continua gracias a su bajo consumo. La fuente de luz, de tecnología LED, se encuentra encerrada en un perfil de policarbonato con un reflector de aluminio interior que permite dirigir la luz. Puede colocarse tanto como aplique como elemento de suspensión.

Modular system consisting of polycarbonate profile with an aluminium reflector inside. Chromed zamac brackets. Driver box in white polycarbonate.

Sistema modular compuesto de un perfil de policarbonato con un reflector de aluminio en su interior. Soportes en zamac cromado. Caja del driver en policarbonato blanco.

Aluminium · Aluminio

Neón de Luz NL-S A

5 cm

200cm

40cm

64,5 cm

LED 18,6W 2460lm 3000K

94,5 cm

LED 29W 3820lm 3000K

124,5 cm

LED 40,4W 5320lm 3000K

154,5 cm

LED 57W 7500lm 3000K

Translucent electrical cord · Cable eléctrico transparente Range · Colección

Dimmable

p.208

Pendant · Suspensión

Neón de Luz — Joan Gaspar, 2004

Mercer Mercer is a beautiful and elegant lamp. The fusion of different materials achieves a spectacular result due to its pure textile shade floating in a transparent blown glass structure. The inner diffuser is available in natural cotton ribbons and in a more modern and minimalistic version, in pearl white.

Mercer es una lámpara bella y elegante. En ella la fusión de materiales de distinta naturaleza consigue un producto de gran espectacularidad ya que su pantalla textil flota en una estructura de cristal soplado transparente. El difusor interior está disponible en cintas de algodón crudo y en una versión más moderna y minimalista, en blanco perla.

Textile shade that floats inside a transparent blown glass structure. In the 44 version, there is an opal diffuser disc on the lower part.

Pantalla textil que flota en una estructura de cristal soplado transparente. En la versión 44, existe un disco difusor opal en su parte inferior.

Mercer 20

Natural cotton ribbon · Cinta algodón crudo Pearl white · Blanco perla

Mercer 44

E14 HSGSP/C/UB 46W

2x E27 HSGSA/C/UB 77W

E14 LED 5W

2x E27 LED Standard 8W 2x E27 FBT 18W

Mercer 30 E27 HSGSA/C/UB 77W E27 LED Standard 8W E27 FBA 15W

Mercer 44

19,8cm

13,5cm

200cm

Mercer 30

200cm

Mercer 20

ø20cm

29cm

ø30cm

ø44cm

Electrical cord: fabric black (44 & 30 cm versions); translucent (20 cm) · Cable eléctrico: negro textil (44 y 30cm); transparente (20cm) Range · Colección p.218

Pendant · Suspensión

p.144

p.198

Mercer — Joan Gaspar & Javier M. Borrás, 2005

Pendant · Suspensión

Mercer — Joan Gaspar & Javier M. Borrás, 2005

Nenúfar 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 LED pendants, composed of several discs attached to a central stem. Each disc is distinct, separated from the others in a way that the downward beams do not intersect or interfere, but combine for a uniform, direct beam. The result is an item that is midway between decorative and architectural, and 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. 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.

Resultado de la intensa búsqueda del autor por crear una estructura de luz que parezca que está flotando en el espacio, está inspirada en la planta acuática en cuanto a forma y ligereza se refiere. Nenúfar es un sistema de lámparas de suspensión con tecnología LED compuesto de varios discos, unidos por un mismo tallo y separados entre sí de forma que la luz que transmite cada uno de ellos no se ve interrumpida por el disco inferior, el cual también proyecta luz hacia abajo. Los discos emiten una luz directa, potente y uniforme. El resultado es un producto a caballo entre el mundo decorativo y el arquitectural: sobrio, bien resuelto, construido con materiales óptimos y con una luz impecable, utilizando la tecnología LED para crear ambientes cálidos y confortables. Cuando más cómodo se encuentra este producto es en la repetición, creando volúmenes con luz, a diferentes alturas y combinando diferente número de discos. En solitario es sorprendente, equilibrado y silencioso. Nenúfar se puede agrupar alrededor de un solo tallo en uno, dos o tres discos en blanco o negro, y soporte siempre cromado.

Pendant · Suspensión

Nenúfar — Joan Gaspar, 2013

A chromed metal stem supports a system of one, two, or three polycarbonate discs, attached at varying heights and with 120 degrees of separation between. A diffuser with a strip of perimeter LEDs projects the light downwards.

White · Blanco

Tija de hierro cromado que soporta un sistema de discos de policarbonato agrupados en uno, dos o tres elementos, y colocados a 120º de separación en planos diferentes. Un difusor proyecta hacia abajo la luz de una tira de LED perimetral.

Para instalación del florón en superficie Cuando el proyecto requiera una combinación de varios Nenúfar se deberá tener en cuenta la potencia total en vatios, la potencia que admite el driver y las entradas de cable que permite cada tipo de florón. La suma de los vatios de los Nenúfar seleccionados no puede superar el máximo de los vatios del driver del florón, debiendo determinar los florones/drivers en función de la potencia requerida. Además, la cantidad de Nenúfar a instalar en un mismo florón no podrá superar el número de entradas que se especifica.

Nenúfar 1

Black · Negro

For mounted canopy installation When the project requires a combination of different Nenúfars, you will have to take into account the total power in watts, the power of the driver, and the wire entry points of the canopy. The total wattage of the selected Nenúfar elements cannot exceed the max wattage of the canopy’s driver. Therefore, you must choose your canopy/driver by the power required. Finally, the number of Nenúfars installed in a single canopy cannot exceed the number of wire entry points of that canopy.

LED 9W 24V 2700K* 700lm (included · incluido) Nenúfar 2 LED 18W 24V 2700K* 1400lm

Canopy 20W · Florón 20W 10cm

LED 27W 24V 2700K* 2100lm

17,5cm

ø18,5cm

ø22,5cm

Canopy 60W · Florón 60W

300cm

4,5cm

Canopy 75W Dali · Florón 75W Dali

Canopy 100W 1-10V · Florón 100W 1-10V

18W

Nenúfar 3

27W

20W Canopy · Florón 2 30W Canopy · Florón 3 75W / 100W Canopy · Florón 5

Dimmable The Nenúfar system allows one to regulate the light (1-10v or DALI)

12cm 4 ,5cm

24,5cm 5,4cm

16,9cm

12cm

Nenúfar 2

60W Canopy · Florón 4

12,5cm

21,5cm

20,3cm

20,5cm

· El sistema Nenúfar permite regular la intensidad de luz (1-10v o DALI)

ø31cm

16,9cm

63,1cm

46,6cm

Canopy 100W · Florón 100W

ø28cm

24,5cm

Nenúfar 1

Wire entry points · Entradas de cable

ø26cm

ø31cm

24,8cm

21,6cm

24,8cm

12cm

ø22,5cm

17,1cm

20,5cm

29,6cm ø17,3cm

20cm

4cm

ø18,5cm

300cm

ø18,5cm

Nenúfar 3 3,2cm

Nenúfar 2 3,2cm

Nenúfar 1

10cm

4,5cm

(included · incluido)

Power · Potencia

Canopy 30W · Florón 30W 4cm

Nenúfar 3

13,5cm

3,2cm

(included · incluido)

Ceiling plate · Placa de techo

25,9cm

ø12cm

For recessed canopy installation The ceiling plate accessory is a technical solution that allows you to hide the driver in a false ceiling. For any installation where the driver must be hidden, there are 4 types of drivers based on the power: 20-30-60-100W. Para instalación del florón empotrado El accesorio placa de techo es una solución técnica que permite ocultar el driver en el falso techo. Para este tipo de instalación donde se prevé ocultar/empotrar el driver, existen 4 tipos de drivers, con potencias 20-30-60-100W.

Black or white electrical cord, depending on the color of the model · Cable eléctrico en negro o blanco, según el color del modelo * 3000K available upon request · Bajo pedido

Pendant · Suspensión

Nenúfar — Joan Gaspar, 2013

Pendant · Suspensión

Nenúfar — Joan Gaspar, 2013

This fixture is available in pre-set configurations of 3, 5, 7, and 9 units, to ease installation. El sistema Nenúfar viene en grupos de 3, 5, 7 o 9 unidades para facilitar su instalación. Nenúfar Pre-set 3A 3x Nenúfar 3 + Canopy · Florón (100W) (driver included · trafo incluido)

Nenúfar Pre-set 7A 7x Nenúfar 3 + Canopy · Florón (220W) (driver included · trafo incluido)

Nenúfar Pre-set 3B 1x Nenúfar 1, 1x Nenúfar 2, 1x Nenúfar 3 + Canopy · Florón (100W) (driver included · trafo incluido)

Nenúfar Pre-set 7B 2x Nenúfar 1, 2x Nenúfar 2, 3x Nenúfar 3 + Canopy · Florón (220W) (driver included · trafo incluido)

Nenúfar Pre-set 5A 5x Nenúfar 3 + Canopy · Florón (160W) (driver included · trafo incluido)

Nenúfar Pre-set 9A 9x Nenúfar 3 + Canopy · Florón (300W) (driver included · trafo incluido)

Nenúfar Pre-set 5B 1x Nenúfar 1, 2x Nenúfar 2, 2x Nenúfar 3 + Canopy · Florón (160W) (driver included · trafo incluido)

Nenúfar Pre-set 9B 3x Nenúfar 1, 3x Nenúfar 2, 3x Nenúfar 3 + Canopy · Florón (300W) (driver included · trafo incluido)

Nenúfar Pre-set 3A

Nenúfar Pre-set 5A

ø90cm

6cm

ø49cm

Nenúfar Pre-set 9B 100cm

ø90cm

6cm

ø65cm

Nenúfar Pre-set 9A 100cm

6cm

ø65cm

80cm

6cm

80cm

Nenúfar Pre-set 7B

ø49cm

6cm

Nenúfar Pre-set 7A

Nenúfar Pre-set 5B 65cm

65cm

6cm

ø40cm

6cm

ø40cm

Nenúfar Pre-set 3B 50cm

50cm

Dimmable

Pendant · Suspensión

Nenúfar — Joan Gaspar, 2013

Pendant · Suspensión

Nenúfar — Joan Gaspar, 2013

Nolita Its aesthetic tone is the fundamental component of this collection. Nolita is sophisticated and elegant thanks to the close attention paid to proportion. Its simplicity of design and structure contrasts with the materials used, particularly the injected polycarbonate for the shade. This feature breaks the classical silhouette slightly, but in no way compromises the elegance of the light. The suspension version offers a wide variety of applications because of its simple shapes and shade that diffuse a warm and pleasant light that fits naturally in any environment.

La estética es el elemento esencial en esta familia de lámparas. La colección Nolita es sofisticada y elegante gracias a un trabajo exhaustivo en sus proporciones. Su sencillez formal y constructiva contrasta con los materiales utilizados, principalmente el policarbonato inyectado de la pantalla. La silueta clásica se trastoca así levemente, pero sin ceder en elegancia. La versión de suspensión permite un uso flexible de esta lámpara ya que puede encajar con naturalidad en cualquier entorno, por su simplicidad en las formas y su difusor que proporciona una luz cálida y agradable.

Conic diffuser with a double shade made of engraved polycarbonate.

Difusor cónico de doble pantalla de policarbonato con grabado.

Translucent · Transparente

Nolita 25 E14 HSGSP/C/UB 46W E14 LED 5W Nolita 39 E27 HSGSA/C/UB 77W E27 LED Standard 8W E27 FBT 18W

Nolita 39

ø25cm

25,5cm

16cm

200cm

Nolita 25

ø39,4cm

Range · Colección Translucent electrical cord · Cable eléctrico transparente

Pendant · Suspensión

p.100

p.124

p.178

Nolita — Joan Gaspar, 2008

Nolita Cotton This version has a double-screen diffuser made of polycarbonate on the inside and natural cotton ribbons on the outside. Its ribboned construction filters a richly varied light.

La versión Nolita Cotton dispone de un difusor de doble pantalla con policarbonato en su interior y cintas de algodón crudo en el exterior. Su estructura encintada tamiza una luz rica en matices.

Conic diffuser with a double shade made of polycarbonate on the inside part and raw cotton ribbons on the outside.

Difusor cónico de doble pantalla: policarbonato en su interior y cintas de algodón en el exterior.

Nolita 25

Natural cotton ribbons · Cinta algodón crudo

E14 HSGSP/C/UB 46W E14 LED 5W Nolita 39 E27 HSGSA/C/UB 77W E27 LED Standard 8W E27 FBT 18W

Nolita Cotton 39

16cm

200cm

Nolita Cotton 25

25,5cm

ø25cm

ø39,4cm

Translucent electrical cord · Cable eléctrico transparente Range · Colección p.102

Pendant · Suspensión

p.126

p.180

Nolita Cotton — Joan Gaspar, 2009

Atlas Atlas transforms a common bulb into a spotlight, enveloping it along 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. Atlas is a directional spotlight made of transparent polycarbonate and a polyamide base. It can be grouped in bases of 2 and 3 units, and it is also suitable to be installed on track.

Atlas convierte la bombilla de uso común en un foco, tras enfundarla siguiendo su contorno. Tomando su desnudez como punto de partida, la viste con un traje transparente que además tiene la virtud de conferirle ligereza. Fabricado en policarbonato transparente y una base de poliamida, Atlas también puede instalarse en un carril o en grupos de 2 y 3 unidades.

Transparent polycarbonate shade that envelopes the light source. Canopy made of white polyamide.

Difusor de policarbonato transparente que envuelve la bombilla. Florón de poliamida blanca.

Atlas Susp / Susp. Ad.

Transparent · Transparente

E27 PAR 30 75W E27 LED PAR30 12W

Base Atlas 2

7,9cm

12,5cm

Atlas Susp. Ad.*

300cm

Atlas Susp

25cm

ø11cm

12,5cm

300cm

17cm

Base Atlas 3

17cm

37,5cm

ø11cm

Translucent electrical cord · Cable eléctrico transparente * Atlas with track adaptor · Atlas con adaptador a raíl

COOL BEAM

Range · Colección p.228

Pendant · Suspensión

Atlas — Joan Gaspar, 2000

Floor Pie

Floor · Pie

Ginger — Joan Gaspar, 2014

Difusor de madera prensada de 4 mm en roble natural o wengué. Disipador de aluminio inyectado, tija y base metálica lacados en negro mate. Brazo móvil de fibra de carbono lacado en negro mate.

Min 92cm

Max 145cm

Max 55cm Min 13cm

Pressed wood diffuser of 4 mm in natural oak or wenge. Injected aluminium dissipater, metal stem and base in lacquered black matte. Movable arm made of carbon fiber, lacquered in black matte.

89° 101° 100°

Ginger XL 42

Ginger P / Ginger XL 42

Oak · Roble

Min 102cm

Ginger XXL 60 LED SMD 20,8W 700mA 2700K 3023lm (included · incluido)

Max 171cm

Max 65cm Min 13cm

LED SMD 15,4W 700mA 2700K 2130lm (included · incluido)

Wenge · Wengué

88° 99° 100°

Ginger XXL 60

Ginger P

Ginger XL 42

Ginger XXL 60

Max.65cm

202cm

8,6cm

ø42cm

11,8cm

8,6cm

Max.55cm

172cm

ø60cm

187cm

125cm ø34cm

Variedad de posiciones Con un original sistema de orientación y suspensión, la pantalla Ginger cuelga de una estructura que sustituye al techo. El sistema permite desplazar hacia adelante y hacia atrás la lámpara, así como abatirla a un lado y a otro. Además, el brazo de carbono tiene dos inclinaciones posibles según la posición pre-establecida en la rótula. El conjunto resulta contundente y aéreo, de espectacularidad contenida. Se propone en 2 tamaños para ajustarse a las dimensiones de los distintos espacios.

212cm

ø42cm

Range of positions With an original system to orient and suspend it, the Ginger lampshade hangs from a structure that replaces the ceiling. The system allows the lamp slide forward and backward and from side to side. The carbon fiber arm has two possible movements depending on the pre-established position of the pivot joint. It is altogether striking, spectacular yet contained. It comes in two sizes to fit the needs of different spaces.

ø50cm

ø61,5cm

Black electrical cord · Cable eléctrico en negro * Ginger P / XL 42: in-line motion sensor dimmer · Dimmer integrado en el cable Ginger XXL 60: integrated motion sensor dimmer · Dimmer con sensor de movimiento integrado

Dimmer *

Range · Colección p.8

p.110

Floor · Pie

p.150

Ginger — Joan Gaspar, 2014

Floor · Pie

Ginger — Joan Gaspar, 2014

Tam Tam This year, the colorful, sonorous Tam Tam, already so multifunctional, now comes in a new linear version that retains its fun, dynamic roots. The new floor versions feature a central pole to which either one or three colorful, rotating satellites are attached. These new members of the Tam Tam family are great for lighting intimate interior spaces, such as living rooms, offices, or reading nooks. Consumers can mix and match the color and number of lampshades to suit the aesthetic of each atmosphere, each interior and every need.

Este año, la colorista y sonora Tam Tam que tanto juego ha dado se presenta ahora en su versión más lineal sin perder su origen dinámico y divertido. Los nuevos modelos de pie se simplifican con la incorporación de una estructura tubular a la que se sujetan una o varias pantallas que pueden orientarse en cualquier dirección y con colores diversos. Estos nuevos miembros de la colección Tam Tam se ajustan a espacios más polivalentes, alargados o estrechos, en la barra de un bar, iluminando un rincón de lectura o una zona de paso. Y es que este racimo de pantallas de nombre sonoro puede escogerse a gusto del consumidor; mezclando colores y número de pantallas que se adaptan en cada interior, a cada ambiente, para cada necesidad.

Floor · Pie

Tam Tam — Fabien Dumas, 2015

Metal structure lacquered in black. Lacquered aluminium lampshades adjustable 360º in any direction. An opal methacrylate diffuser softensthe light.

Structure · Estructura

Estructura de metal lacado en negro. Pantallas de aluminio lacado orientables 360º en cualquier posición. En su parte inferior, un difusor de metacrilato opal tamiza la luz.

Tam Tam P E14 HSGSP/C/UB 46W

Black · Negro (Ral 9011)

E14 LED 5W Shades · Pantallas

E14 FBT 15W

Black · Negro (Ral 9011) Off-white · Blanco roto (Ral 1013)

Tam Tam P3

Orange · Orange (Ral 2000)

3x E14 HSGSP/C/UB 46W

Brown grey · Marrón gris (Ral 7013)

3x E14 LED 5W 3x E14 FBT 15W

Green · Verde (Ral 6025) Sand · Arena (Ral 7032) Blue · Azul (Ral 5024)

Tam Tam P

Tam Tam P3

13 cm

116cm

160cm

cm ø22

ø24cm

Black electrical cord · Cable eléctrico en negro

Range · Colección p.194

p.12

Floor · Pie

Tam Tam — Fabien Dumas, 2015

Cala Everybody likes a warm, comfortable light. This is exactly what the new Cala lamp achieves through the combination of its lightweight but rigid oak structure—inspired by the classic artist’s easel—and its pearl white polyester shade. The Cala is available in three sizes - 140 cm, 165 cm and 180 cm. The smallest version is ideal next to a sofa or armchair, while the larger models are conceived as general lighting for more open spaces. The Cala collection is also available in an outdoor version.

A todos nos gusta una luz cálida y confortable. Esto es precisamente lo que consigue la lámpara Cala, diseñada combinando una estructura ligera y resistente en madera de roble, inspirada en los clásicos caballetes de pintor, con una pantalla de poliéster en blanco perla. Disponible en tres tamaños, - 140 cm, 165 cm y 180 cm -, la versión menor es idónea para su colocación al lado de un sofá o butaca y las dos mayores han sido concebidas como iluminación general para espacios más amplios. La familia Cala también está disponible en versión de exterior.

Floor · Pie

Cala — Joan Gaspar, 2012

Varnished oak structure. White polyester shade, made of a PVC-PET laminated film. Methacrylate diffuser in lower part of the shade. In the smallest version, there is also a methacrylate diffuser in upper part of the shape.

Estructura de roble barnizado. Pantalla de poliéster blanco formada por dos láminas de PVC y PET. Difusor de metacrilato en la parte inferior de la pantalla. La versión de pie más pequeña también dispone de un difusor de metacrilato en la parte superior de la pantalla.

Cala P140, P165 & P180

Structure · Estructura Oak · Roble

3x E27 HSGSA/C/UB 77W

Pigmented black oak

3x E27 LED Standard 8W 3x E27 FBA 15W

· Roble pigmentado negro Shade · Pantalla Pearl white · Blanco perla

Cala P140

Cala P165

Cala P180 ø70cm

35cm

ø64,5cm

179,5cm

165cm

140cm

24cm

32cm

ø57cm

40,5cm

41,5cm

42,7cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.250

Floor · Pie

Cala — Joan Gaspar, 2012

Funiculí Funiculí is a re-edition of a lamp originally designed in 1979. Lluís Porqueras 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. The name Funiculí comes from the concept of a “funicular” action – moving up and down. The mechanism for raising and lowering the lamp uses a pair of clips which make it very easy to change the height of the shade to meet the user’s needs. The shade itself can be rotated through 360º to point the beam of light wherever it is required. The base of Funiculí is covered in rubber on the bottom, avoiding the cold contact between the metal and the floor and adding stability to the lamp.

Funiculí es una reedición de una lámpara diseñada en 1979. Lluís Porqueras siempre ha diseñado buscando una simplicidad absoluta, eliminar lo superfluo hasta dejar la esencia del objeto útil y sencillo. 30 años después, Funiculí sigue siendo muy actual, tanto en sus formas puristas como en sus prestaciones. El nombre de Funiculí viene del concepto de acción funicular, de subir y bajar. Este sencillo mecanismo de sube y baja se consigue mediante una doble pinza que permite cambiar la altura de la pantalla para adaptarse a las necesidades del usuario. La pantalla ofrece una rotación de 360º para dirigir el haz de luz hacia donde convenga. La base de la Funiculí tiene una goma que recubre el contorno, evita el contacto frío del metal con el suelo y añade estabilidad a la lámpara.

Floor · Pie

Funiculí — Lluís Porqueras, 1979 / 2012

Base and stem in lacquered iron. Shade made of lacquered aluminium. Base wrapped with black rubber.

Moss grey · Gris musgo (Ral 7003)

Base y fuste en hierro lacado. Pantalla en aluminio lacado. Goma negra que envuelve el contorno de la base.

Funiculí

Off-white · Blanco roto (Ral 9001)

E27 HSGSA/C/UB 57W

Black · Negro (Ral 9005)

E27 LED Standard 8W

Red · Rojo (Ral 3024)

E27 FBA 15W

Blue · Azul (Ral 5024)

Funiculí

135cm

ø18,4cm

ø24,8cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.128

Floor · Pie

p.158

Funiculí — Lluís Porqueras, 1979 / 2012

Floor · Pie

Funiculí — Lluís Porqueras, 1979 / 2012

Polo The fluidity of its movements and its stability mean this flexible fitting can be moved anywhere without cluttering your desk or taking up too much valuable space. Its integrated LED technology allows one to direct the beam with the utmost precision, for a light that is both focused and warm, yet highly useful. The Polo comes with a diffuser made from injected aluminium, arms and built-in swivel joints CNC milled from an aluminium block, and a rotary switch located in the upper part of the head stock. Available in both black and white, it is supplied with a range of accessories: base, clamp, table or wall bracket and a floor stand.

La fluidez de sus movimientos y su perfecta estabilidad hacen que este flexo pueda moverse alrededor de la mesa sin apenas ocupar espacio. Esta lámpara articulada incorpora tecnología LED, lo que permite dirigir el haz de luz con precisión. El difusor se fabrica en inyección de aluminio. Los brazos y los sistemas de rótulas integrados se generan mediante un proceso de fresado CNC, partiendo de un bloque de aluminio. El interruptor con sistema de rueda se encuentra en la parte superior del cabezal. Polo se presenta en blanco y negro, y está disponible con una serie de accesorios: base, mordaza, soporte de mesa o de pared y soporte de pie.

Body and diffuser in lacquered aluminium. A switch is incorporated into the diffuser. Painted metal base and stem of aluminium.

Estructura y difusor de aluminio lacado. Interruptor incorporado al difusor. Base de metal pintado y tija de aluminio.

Polo P 35cm

Black · Negro (Ral 9005)

Polo P

White · Blanco (Ral 9001)

LED 7W 350mA 3000K 520lm

10cm

(included · incluido)

60,9cm

4 4 cm

ø4 ,5

ø26,5cm

Range · Colección Black electrical cord · Cable eléctrico en negro

p.212

Floor · Pie

p.186

p.134

Polo — Joan Gaspar, 2013

Scantling A combination of basic geometric shapes and the use of wood together 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.

El ensamblaje de formas geométricas básicas y el uso de madera junto al metal, otorgan a esta familia de luminarias un aire próximo y a la vez una marcada personalidad. Todos los movimientos de la pantalla, con rotación completa, quedan resueltos mediante rótulas y brazos, y su precisión técnica hace que no requiera muelles ni contrapesos vistos para mantener la posición escogida. La palabra inglesa Scantling hace referencia a las dimensiones de la sección de una varilla de madera, y deriva de una herramienta de medida utilizada antiguamente. La evidencia de su juego constructivo procura a esta lámpara una cierta imagen arquetípica, casi gráfica.

Floor · Pie

Scantling — Mathias Hahn, 2010

Lacquered iron stem and base. Solid oak arm supports a lacquered aluminium shade. The switch is built into the diffuser.

Tija y base de hierro lacado. Brazo de roble macizo que sostiene un difusor de aluminio. El interruptor está incorporado en la pantalla.

Structure · Estructura

Scantling P73 / P40

Shade · Pantalla

White-Oak · Blanco-Roble

White · Blanco (Ral 9010)

E27 LED Reflector 8W

Black-Oak · Negro-Roble

Black · Negro (Ral 9005)

E27 PAR20 50W

Scantling P40

Scantling P73 73,2cm

19,5cm

20cm

40cm

ø11,5cm

121,2cm

136,2cm

ø9,5cm

ø24cm

ø28,5cm

Black fabric electrical cord · Cable eléctrico textil en negro Range · Colección p.138

Floor · Pie

p.156

Scantling — Mathias Hahn, 2010

Nolita Close attention to the overall proportions is crucial in the sophistication and elegance of the Nolita collection. The simplicity of design of the Nolita wall contrasts with the translucent moulded polycarbonate for the shade, combined with the stem in aluminium. Nolita floor is height adjustable and the mobility of its arm allows the positioning of the shade and the light beam. This feature breaks the basic lamp’s silhouette slightly but in no way compromises the elegance of the light.

La colección Nolita es sofisticada y elegante gracias a un trabajo exhaustivo en sus proporciones. Su sencillez formal y constructiva contrasta con el policarbonato inyectado transparente de la pantallla, combinado con el aluminio de la estructura. La versión Nolita de pie es ajustable en altura y su brazo móvil permite orientar la pantalla y el haz de luz. La silueta de la lámpara básica se trastoca así levemente, pero sin ceder en elegancia.

Conic diffuser with a double shade made of engraved polycarbonate. Anodized aluminium base and stem.

Difusor cónico de doble pantalla de policarbonato con grabado. Fuste y base en aluminio anodizado.

Structure · Estructura Aluminium · Aluminio

Nolita P

Shade · Pantalla Translucent · Transparente

E27 HSGSA/C/UB 77W E27 FBT DIM 18W

Nolita P

25,5cm

ø39,4cm

128 - 154cm

Balancing lampshade · Pantalla basculante

36,6cm

Translucent electric cord · Cable eléctrico transparente Range · Colección

Dimmer

100

p.66

Floor · Pie

p.124

p.178

Nolita — Joan Gaspar, 2014

101

Nolita Cotton This version has a double-screen diffuser made of polycarbonate on the inside and natural cotton ribbons at the outside, which creates a cosy light atmosphere. It includes a touch dimmer system.

La versión Nolita Cotton dispone de un difusor de doble pantalla con policarbonato en su interior y cintas de algodón crudo en el exterior creando así una confortable atmósfera de luz. Incluye un sistema dimmer al tacto.

Conic diffuser with a double shade made of polycarbonate on the internal part and raw cotton ribbons on the outside. Anodized aluminium base and stem.

Difusor cónico de doble pantalla: policarbonato en su interior y cintas de algodón en el exterior. Fuste y base en aluminio anodizado.

Structure · Estructura Aluminium · Aluminio

Nolita Cotton P E27 HSGSA/C/UB 77W E27 FBT DIM 18W

Shade · Pantalla Natural cotton ribbons · Cinta algodón crudo

Nolita Cotton P

25,5cm

ø39,4cm

128 - 154cm

Balancing lampshade · Pantalla basculante

36,6cm

Translucent electric cord · Cable eléctrico transparente Range · Colección

Dimmer

102

p.68

Floor · Pie

p.126

p.180

Nolita Cotton — Joan Gaspar, 2009

103

104

Maranga es nombre de fruta inventada: exquisita, incitante, suculenta. Reinterpreta el estilo escandinavo en cuanto a la esencialidad de la forma y el uso racional de la iluminación para generar un ambiente cálido y confortable. La pantalla está formada por 32 piezas a modo de gajos que se intercalan entre sí dejando escapar resquicios de luz. Este juego de claroscuros genera un efecto rico en matices luminosos e impide el deslumbramiento, al tiempo que la abertura inferior provista de un difusor emite luz directa hacia abajo.

Floor · Pie

Maranga — Christophe Mathieu, 2012

105

A shade made up of 32 polycarbonate sections, all attached to an upper chromed metal cover. Underneath there is a transparent polycarbonate diffuser with a prismatic engraving. The base and the stem are in lacquered metal.

White · Blanco (Ral 9003)

Pantalla compuesta de 32 piezas de policarbonato unidas entre sí a una tapa superior de metal cromado. En la parte inferior, un difusor de policarbonato transparente con grabado prismático. Base y tija de metal lacado.

Maranga P130 / P170 3x E27 HSGSA/C/UB 57W 3x E27 LED Standard 8W 3x E27 FBT 18W

Maranga P130

Maranga P170 ø50cm

ø35cm

171cm

131cm

ø50cm

ø35cm

White electric cord · Cable eléctrico en blanco Range · Colección p.42

106

Floor · Pie

p.216

p.142

Maranga — Christophe Mathieu, 2012

107

Table Sobremesa

110

Table · Sobremesa

Ginger — Joan Gaspar, 2014

111

Diffuser and pressed wood base of 4 mm in natural oak or wenge. Injected aluminium dissipater and lacquered black matte metal stem.

Difusor y base de madera prensada de 4 mm en roble natural o wengué. Disipador de aluminio inyectado y tija metálica lacados en negro mate.

Ginger S

Oak · Roble

LED SMD 7,8W 700mA 2700K 1066lm (included · incluido)

Wenge · Wengué

Ginger M LED SMD 15,4W 700mA 2700K 2130lm (included · incluido)

Ginger S

Ginger M ø42cm

54cm

46,5cm

6cm

8,6cm

ø32cm

ø22cm

ø26,5cm

Range · Colección

p.8

p.150

Black electrical cord · Cable eléctrico en negro

Dimmer

112

p.74

Table · Sobremesa

Ginger — Joan Gaspar, 2014

113

FollowMe Portable and rechargeable, FollowMe is a table lamp that can be taken wherever you go. Because of its small, warm, and selfcontained character, it is ideal both indoors and outdoors. It also works in restaurants and terraces that have no access to electrical outlets, or to replace candlelight. The oak handle beckons you to pick it up. Compact and small, it almost looks like a personal accessory. With a swinging lampshade made of white polycarbonate, it boasts a fresh, luminous look. It comes with LED technology and a dimmer. The battery is built-in, and it has a USB port for recharging.

114

Portátil y recargable, FollowMe es una lámpara de sobremesa a situar en cualquier lugar. Por su carácter autónomo, pequeño formato y calidez es idónea tanto en interiores de vivienda como exterior. También en restaurantes y terrazas que no tienen acceso a enchufe, o como sustituta de la luz de vela. El asa de roble invita a cogerla. Compacta y de dimensiones reducidas, parece casi un accesorio personal. Con pantalla basculante de policarbonato blanco, destaca su fresco perfil luminoso. Incluye tecnología LED, con dimmer regulador de intensidad. La batería va incorporada y dispone de entrada USB para su recarga.

Table · Sobremesa

FollowMe — Inma Bermúdez, 2014

115

Rocking opal diffuser and white matte polycarbonate body. Plywood handle with natural oak veneer, brass switch and construction details. Five hours of battery life at peak performance. White-Oak · Blanco-Roble

Difusor basculante opal y cuerpo de policarbonato blanco mate, que aloja una batería con 5h a máxima intensidad. Asa de contrachapado en roble natural. Detalles constructivos e interruptor en latón. FollowMe LED 3,2W warm light 240lm (included · incluido)

28,8cm

FollowMe

ø12,3cm

* 3 positions dimmer · Dimmer con 3 posiciones Dimmer *

116

Battery life · Batería: 5 hours in peak power · 5 horas a máxima intensidad 10 hours in half power · 10 horas a 50% de intensidad 20 hours in a quarter power · 20 horas a 25% de intensidad Battery charging time · Tiempo de carga de la batería: 10h

Table · Sobremesa

FollowMe — Inma Bermúdez, 2014

117

118

Table · Sobremesa

FollowMe — Inma Bermúdez, 2014

119

120

Table · Sobremesa

FollowMe — Inma Bermúdez, 2014

121

122

Table · Sobremesa

FollowMe — Inma Bermúdez, 2014

123

Nolita Close attention to the overall proportions is key to the sophistication and elegance of the Nolita collection. The simplicity of design of the Nolita contrasts with the translucent injected polycarbonate for the shade, combined with the structure in aluminium.

La colección Nolita es sofisticada y elegante gracias a un trabajo exhaustivo en sus proporciones. Su sencillez formal y constructiva de esta versión contrasta con el material utilizado, policarbonato inyectado transparente, que combina con el acabado aluminio de la estructura.

Conic diffuser with a double shade made of engraved polycarbonate. Anodized aluminium base and stem.

Difusor cónico de doble pantalla de policarbonato con grabado. Fuste y base en aluminio anodizado.

Structure · Estructura

Nolita M E14 HSGSP/C/UB 46W

Aluminium · Aluminio

E14 LED 5W Shade · Pantalla Translucent · Transparente

Nolita M

50cm

16cm

ø25cm

Balancing lampshade · Pantalla basculante

19,2cm

Translucent electrical cord · Cable eléctrico transparente Range · Colección p.66

124

Table · Sobremesa

p.100

p.178

Nolita — Joan Gaspar, 2008

125

Nolita Cotton This version has a double-screen diffuser made of polycarbonate on the inside and natural cotton ribbons on the outside which creates a cosy lighting atmosphere.

La versión Nolita Cotton dispone de un difusor de doble pantalla con policarbonato en su interior y cintas de algodón crudo en el exterior creando así una confortable atmósfera de luz.

Conic diffuser with a double shade made of polycarbonate on the internal part and raw cotton ribbons on the outside. Anodized aluminium base and stem.

Difusor cónico de doble pantalla: policarbonato en su interior y cintas de algodón en el exterior. Fuste y base en aluminio anodizado.

Structure · Estructura

Nolita Cotton M E14 HSGSP/C/UB 46W

Aluminium · Aluminio

E14 LED 5W Shade · Pantalla Natural cotton ribbons · Cinta algodón crudo

Nolita Cotton M

50cm

16cm

ø25cm

Balancing lampshade · Pantalla basculante

19,2cm

Translucent electrical cord · Cable eléctrico transparente Range · Colección p.68

126

Table · Sobremesa

p.102

p.180

Nolita Cotton — Joan Gaspar, 2009

127

Funiculí Throughout his career as a designer, Lluís Porqueras has always sought an absolute simplicity in his designs, doing away with everything superfluous to leave the essence of the useful, simple object. The Funiculí is the epitome of that concept; 30 years after it first appeared, it is still cutting-edge. While the standard Funiculí was updated in 2012, the collection has also been extended to incorporate a table version, which retains the purity of the fixture’s style and its original attributes. Using the same double-clip mechanism of the original, this scaled-down model allows easy height adjustment and 360º shade rotation to fit the needs of any room or user. The base of the table model has been fitted with a black rubber sleeve to prevent cold-contact between the metal and the table, and to impart additional stability.

Lluís Porqueras siempre ha diseñado en busca de una simplicidad absoluta, eliminando lo superfluo hasta dejar la esencia del objeto útil y sencillo. Así ocurre con la Funiculí: 30 años después de su primera edición, sigue siendo muy actual. Tras reeditar la versión de pie, la colección se ha ampliado con una versión de sobremesa, que mantiene tanto sus formas puristas como sus prestaciones. Mediante el mismo mecanismo de doble pinza, este nuevo modelo de tamaño más reducido permite cambiar la altura de la pantalla para adaptarse a las necesidades del usuario. La pantalla ofrece una rotación de 360º para dirigir el haz de luz hacia donde convenga. La Funiculí sobremesa tiene una goma que recubre el contorno de la base para evitar el contacto frío del metal con la mesa y añadir estabilidad a la lámpara. Base and stem in lacquered iron. Shade made of lacquered aluminium. Base wrapped with black rubber.

Base y fuste en hierro lacado. Pantalla en aluminio lacado. Goma negra que envuelve el contorno de la base. Funiculí S

Moss grey · Gris musgo (Ral 7003) Off-white · Blanco roto (Ral 9001)

E14 HSGSP/C/UB 46W

Black · Negro (Ral 9005)

E14 LED 5W

Red · Rojo (Ral 3024) Blue · Azul (Ral 5024)

7cm

Funiculí S

50,3cm

ø15,5cm

ø19,7cm

36,2cm

Range · Colección Black electrical cord · Cable eléctrico en negro

128

Table · Sobremesa

Funiculí — Lluís Porqueras, 2013

p.88

p.158

129

130

Table · Sobremesa

Funiculí — Lluís Porqueras, 2013

131

La Discrète 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. This fixture comes with an incorporated switch for ease of use, and the wooden base, more than a simple fashion statement, brings to mind a solid, well crafted piece of furniture. La Discrète can also be converted into a back-lit, wall-mounted shelf.

La Discrète es una lámpara que intenta ir más allá de una simple luminaria, su diseño simple pero contundente esconde una clara intención de “decorar” y “usar” al mismo tiempo. Puede utilizarse como lámpara de escritorio, como pequeño espacio iluminado donde guardamos nuestros recuerdos favoritos. El interruptor está integrado para un mejor uso, y la madera de la base, lejos de utilizarse como un elemento sujeto a las tendencias, apela a un origen mucho más cercano al mobiliario. Con un accesorio es posible colgarla en la pared a modo de estantería iluminada.

A structure of bent and lacquered metal with a base of natural oak and an embedded pull-switch.

Estructura de pletina metálica doblada y lacada. Base de roble natural. Interruptor incorporado.

Brown grey · Marrón gris (Ral 7013) Off-white · Blanco roto (Ral 1013)

La Discrète E27 HSGSA/C/UB 57W E27 LED Standard 8W E27 FBA 15W

La Discrète

Wall bracket · Soporte pared

26,2cm

4cm

21cm

38,3cm

11,5cm

Black fabric electrical cord · Cable eléctrico textil en negro

132

Table · Sobremesa

La Discrète — Fabien Dumas, 2013

133

Polo The fluidity of its movements and its total stability make this flexible fitting a light source which can be moved anywhere without cluttering your desk or taking up too much valuable space. Its integrated LED technology allows one to direct the beam with the utmost precision, for a light that is both focused and warm, yet highly useful. The Polo comes with a diffuser made from injected aluminium, arms and built-in swivel joints CNC milled from an aluminium block, and a rotary switch located in the upper part of the head stock. Available in both black and white, it is supplied with a range of accessories: base, clamp, table or wall bracket and a floor stand.

134

La fluidez de sus movimientos y su perfecta estabilidad hacen de este flexo un punto de luz que se puede mover alrededor de la mesa sin apenas ocupar espacio. Esta lámpara articulada incorpora tecnología LED, lo que permite dirigir el haz de luz con precisión. El difusor se fabrica en inyección de aluminio. Los brazos y los sistemas de rótulas integrados se generan mediante un proceso de fresado CNC, partiendo de un bloque de aluminio. El interruptor con sistema de rueda se encuentra en la parte superior del cabezal. La colección Polo se presenta en blanco y negro, y está disponible con una serie de accesorios: base, mordaza, soporte de mesa o de pared y soporte de pie.

Table · Sobremesa

Polo — Joan Gaspar, 2012

135

Body and diffuser in lacquered aluminium. A switch is incorporated into the diffuser. Metal base with a polycarbonate cover.

Estructura y difusor de aluminio lacado. Interruptor incorporado al difusor. Base de metal con tapa de policarbonato.

Black · Negro (Ral 9005)

Polo

White · Blanco (Ral 9001)

LED 7W 350mA 3000K 520lm (included · incluido)

Polo

10cm

35cm

4 4 cm

ø4 ,5

ø18cm

Clamp · Mordaza

Table bracket · Soporte mesa

9,5cm

ø5cm

10,5cm

Max 6cm

8,5cm

Base

ø18cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.212

136

Table · Sobremesa

p.186

p.94

Polo — Joan Gaspar, 2012

137

Lacquered iron stem and base. Solid oak arm supports a lacquered aluminium shade. The switch is built into the diffuser.

Tija y base de hierro lacado. Brazo de roble macizo que sostiene un difusor de aluminio. El interruptor está incorporado en la pantalla.

Structure · Estructura

Scantling S

Shade · Pantalla

White-Oak · Blanco-Roble

White · Blanco (Ral 9010)

E27 LED Reflector 8W

Black-Oak · Negro-Roble

Black · Negro (Ral 9005)

E27 PAR20 50W

Scantling S

19,5cm

40cm

59,2cm

ø9,5cm

ø21cm

Range · Colección

Black fabric electrical cord · Cable eléctrico textil en negro

138

p.96

Table · Sobremesa

p.186

Scantling — Mathias Hahn, 2010

139

140

Table · Sobremesa

Scantling — Mathias Hahn, 2010

141

Maranga es nombre de fruta inventada: exquisita, incitante, suculenta. Reinterpreta el estilo escandinavo en cuanto a la esencialidad de la forma y el uso racional de la iluminación para generar un ambiente cálido y confortable. La pantalla está formada por 32 piezas a modo de gajos que se intercalan entre sí dejando escapar resquicios de luz. Este juego de claroscuros genera un efecto rico en matices luminosos e impide el deslumbramiento, al tiempo que la abertura inferior provista de un difusor emite luz directa hacia abajo.

White · Blanco (Ral 9003)

Maranga S 2x E14 HSGSP/C/UB 46W 2x E14 LED 5W 2x E14 FBT 15W

Maranga S

50cm

ø32cm

ø23cm

Range · Colección White electrical cord · Cable eléctrico en blanco

142

p.102

Table · Sobremesa

p.42

p.214

Maranga — Christophe Mathieu, 2012

143

La familia Mercer destaca por una sutil inversión de papeles: la pantalla de tela queda en el interior de una estructura de cristal soplado transparente. El difusor interior está disponible en cintas de algodón crudo y en una versión más moderna y minimalista en blanco perla.

Textile shade that floats inside a transparent blown glass structure. Opal diffuser disc on the upper part.

Pantalla textil que flota en una estructura de cristal soplado transparente. Disco difusor opal en la parte superior.

Natural cotton ribbon · Cinta algodón crudo

Mercer M

Mercer Mini

Dimmer

E27 HSGSA/C/UB 77W

G9 ECO 33W

Pearl white · Blanco perla

E27 FBT DIM 18W

G9 LED 2,2W

Mercer

Dimmer

E27 HSGSA/C/UB 116W E27 FBT DIM 18W

Mercer Mini

Mercer M

Mercer ø38cm

ø29cm

ø11,3cm

53cm

41cm

25cm

ø18cm

ø18,6cm

ø24cm

Black fabric electrical cord · Cable eléctrico textil en negro Range · Colección p.52

144

Table · Sobremesa

p.218

p.198

Mercer — Joan Gaspar & Javier M. Borrás, 2006

145

146

Table · Sobremesa

Mercer — Joan Gaspar & Javier M. Borrás, 2006

147

Wall Pared

Ginger Wood is a great ally of cozy lighting. It is a material that is hard to mold, a challenge that the Ginger collection neatly resolves. The combination of sheets of wood and paper pressed together under high pressure achieves a laminate that appears almost entirely flat, which discreetly lights up spaces with indirect light. The Ginger collection has expanded with an unobtrusive wall lamp and another wall version with movable arm.

150

La madera es una gran aliada de la iluminación más intimista, un material complicado de moldear que la colección Ginger resuelve con nitidez. La combinación de láminas de madera y papel prensados a alta presión consigue una luminaria de aspecto casi plano, sobrio, que ilumina los espacios con luz indirecta desde una presencia leve. La colección Ginger se amplía con un aplique sencillo y otro con brazo móvil.

Wall · Pared

Ginger — Joan Gaspar, 2015

151

Ginger A XL 42 132cm

24,6cm

Max.55cm

Difusor de madera prensada de 4 mm en roble natural o wengué. Disipador de aluminio inyectado y tija metálica lacados en negro mate. Brazo móvil de fibra de carbono lacado en negro mate.

8,6cm

Pressed wood diffuser of 4 mm in natural oak or wenge. Injected aluminium dissipater and metal stem in lacquered black matte. Movable arm made of carbon fiber, lacquered in black matte.

ø42cm

Oak · Roble

Ginger A

Wenge · Wengué

LED SMD 7,8W 700mA 2700K 1066lm (included · incluido)

Range of positions · Variedad de posiciones

Ginger A XL 42 LED SMD 15,4W 700mA 2700K 2130lm (included · incluido)

Min 94,5 cm

Min 13 cm

Max 120 cm

Ginger A

Max 55 cm

40 cm

6cm

55,5cm

16cm

41,2cm

ø32cm 180°

An adjustable wall lamp with a movable structure that holds the lampshade. This articulated arm offers free movement from one side to another, bringing stability to the whole. · Lámpara de pared orientable con una estructura móvil que sostiene la pantalla. Este brazo articulado ofrece un libre movimiento de un lado al otro que proporciona estabilidad al conjunto.

The simple wall version adds a plain rotating structure to the lampshade, turning it into the perfect lamp for the head of a bed, to illuminate a reading corner or even to be used as an occasional lamp over a table. · La versión simple de pared añade una estructura abatible y sencilla a la pantalla, convirtiéndola en una luminaria adecuada para cabecero de cama, para iluminar un rincón de lectura o incluso de forma ocasional el sobre de una mesa.

Range · Colección

Connections available: plug-in, hardwired or recessed · Conexión disponible en versión enchufable, directa o empotrada * Hardwired wall fixtures: dimmable Plug-in wall fixtures: inline motion sensor dimmer · Apliques con conexión directa: dimmables Apliques en versión enchufable: dimmer integrado en el cable p.8

p.110

Black electrical cord · Cable eléctrico en negro Dimmer / Dimmable *

152

p.74

Wall · Pared

Ginger — Joan Gaspar, 2015

153

154

Wall · Pared

Ginger — Joan Gaspar, 2015

155

Lacquered iron structure. Solid oak arm supports a lacquered aluminium shade. The switch is integrated into the wall plate.

Estructura de hierro lacado. Brazo de roble macizo que sostiene un difusor de aluminio. El interruptor está incorporado en la placa de la pared.

Shade · Pantalla

Structure · Estructura

Scantling A

White-Oak · Blanco-Roble

White · Blanco (Ral 9010)

E27 LED Reflector 8W

Black-Oak · Negro-Roble

Black · Negro (Ral 9005)

E27 PAR20 50W

Scantling A 26,8cm

ø13,5cm

cm 19,5 m 9,5c

Black fabric electrical cord · Cable eléctrico textil en negro Range · Colección p.96

156

Wall · Pared

p.138

Scantling — Mathias Hahn, 2010

157

Funiculí Throughout his career as a designer, Lluís Porqueras has always sought an absolute simplicity in his designs, doing away with everything superfluous to leave the essence of the useful, simple object. The Funiculí is the epitome of that concept; 30 years after it first appeared, it is still cutting-edge. While the standard Funiculí was updated in 2012, the collection has also been extended to incorporate a wall version, which retains the purity of the fixture’s style and its original attributes. Using the same double-clip mechanism of the original, this scaled-down model allows easy height adjustment and 360º shade rotation to fit the needs of any room or user.

Lluís Porqueras siempre ha diseñado en busca de una simplicidad absoluta, eliminando lo superfluo hasta dejar la esencia del objeto útil y sencillo. Así ocurre con la Funiculí: 30 años después de su primera edición, sigue siendo muy actual. Tras reeditar la versión de pie, la colección se amplía con esta versión de pared, que mantiene tanto sus formas puristas como sus prestaciones. Mediante el mismo mecanismo de doble pinza, este nuevo modelo de tamaño más reducido permite cambiar la altura de la pantalla para adaptarse a las necesidades del usuario. La pantalla ofrece una rotación de 360º para dirigir el haz de luz hacia donde convenga.

Stem and wall clip in lacquered iron. Shade made of lacquered aluminium.

Fuste y anclaje en hierro lacado. Pantalla en aluminio lacado.

Funiculí A

Moss grey · Gris musgo (Ral 7003) Off-white · Blanco roto (Ral 9001)

E14 HSGSP/C/UB 46W

Black · Negro (Ral 9005)

E14 LED 5W

Red · Rojo (Ral 3024) Blue · Azul (Ral 5024)

Funiculí A

7cm

29,5cm

39cm

49,2cm

ø15,5cm

Black fabric electrical cord · Cable eléctrico textil en negro Range · Colección p.88

158

Wall · Pared

p.128

Funiculí — Lluís Porqueras, 2013

159

160

Wall · Pared

Funiculí — Lluís Porqueras, 2013

161

162

Wall · Pared

Funiculí — Lluís Porqueras, 2013

163

Discocó Attractive and decorative, the Discocó has become a resounding success, with one foot in Scandinavian design and the other in Mediterranean style. Its refined simplicity and evocative play of light and shade make this lamp ideal to illuminate and enrich a setting. Two new tones, beige and grey, have been added to the existing color range, this time with a matte finish.

Atractiva y ornamental, Discocó se ha convertido en un éxito rotundo con un pie en el diseño escandinavo y otro en el mediterráneo. Su estudiada sencillez y el sugerente juego de luces y sombras hacen de esta lámpara un objeto de luz idóneo para enriquecer el ambiente. A la gama de colores existente se le añaden dos nuevos tonos, beige y gris, esta vez en acabado mate.

21 opaque discs made in moulded ABS. Chromed semi-sphere.

21 discos opacos de ABS inyectado. Semiesfera cromada.

Discocó A

White · Blanco (Ral 9003)

2x E14 LED 5W

Matte grey · Gris mate (Ral 7037) Matte beige · Beige mate (Ral 1001) Black-Gold · Negro-Oro (Ral 9004-Gold)

27,5cm

Discocó A

38cm

23,6cm

Range · Colección p.18

164

p.214

Wall · Pared

Discocó — Christophe Mathieu, 2012

165

Ledtube The Ledtube is a flexible LED wall lamp with a 24° lens that directs a sharp beam of light. Made of injected aluminum, with a frontal piece in transparent polycarbonate, the Ledtube’s cylindrical shape and automatic on/off switch make it an attractive and convenient fixture. Due to its functional architectural design, the Ledtube can be installed either vertically or horizontally, and is an excellent choice for a bedside, headboard, or under-cabinet light.

166

Ledtube es un aplique orientable que incorpora tecnología LED y una lente de 24º que dirige el haz de luz de forma nítida. Combina formas planas y cilíndricas realizadas en aluminio inyectado y una pieza frontal de policarbonato transparente. Por su diseño arquitectónico y funcional, este aplique se puede instalar en vertical u horizontal y es idóneo como lámpara de cabecera.

Wall · Pared

Ledtube — Daniel López, 2009

167

Injected aluminium structure and a frontal piece of transparent polycarbonate. Incorporated switch to turn the lamp on when opened and off when folded away.

Estructura de aluminio inyectado y pieza frontal de policarbonato transparente. Pulsador incorporado para encender o apagar la fuente de luz al abrir o cerrar el aplique.

Aluminium · Aluminio satinado

Ledtube RSC

White · Blanco (Ral 9003)

3W LED 700mA 3000K 150lm (included · incluido)

Black · Negro (Ral 9005) Bronze · Bronce

Ledtube RSC 10,9cm

5,5 x 15 cm

17cm

14,9cm

4,5cm

6,8cm

4,2cm

Range of positions · Variedad de posiciones

5,2cm

Range · Colección p.172

168

Wall · Pared

This orientable lamp lamp is easy to use, as it turns on automatically when open and off when folded away. Sus formas orgánicas e intuitivas facilitan el uso ya que la luz se enciende automáticamente al abrir el Ledtube y se apaga al cerrarlo. Ledtube — Daniel López, 2009

169

170

Wall · Pared

Ledtube — Daniel López, 2009

171

Ledtube R This surface-mounted version of the Ledtube incorporates the LED technology of its predecessor into an attractive round casing. The orientable wall lamp is easy to use, with an incorporated switch to turn the lamp on when opened and off when folded away. The lamp’s 180° rotation makes it ideal for any bedside.

172

Esta versión de superficie mantiene y amplía las virtudes de la colección Ledtube: es un aplique orientable con tecnología LED, sus formas orgánicas e intuitivas facilitan el uso ya que la luz se enciende automáticamente al abrir el Ledtube y se apaga al cerrarlo. Además, su rotación de 180º es idónea para instalar en cualquier cabecera de cama.

Wall · Pared

Ledtube R — Daniel López, 2012

173

Injected aluminium structure and a frontal piece of transparent polycarbonate. Incorporated switch to turn the lamp on when opened and off when folded away.

Estructura de aluminio inyectado y pieza frontal de policarbonato transparente. Pulsador incorporado para encender o apagar la fuente de luz al abrir o cerrar el aplique.

Aluminium · Aluminio satinado

Ledtube R

White · Blanco (Ral 9003)

3W LED 700mA 3000K 150lm (included · incluido)

Black · Negro (Ral 9005) Bronze · Bronce

Ledtube R 3,4cm

ø13,2cm

Ledtube R Left · Izquierdo

Ledtube R Right · Derecho

Incorporated switch to turn the lamp on when opened and off when folded away. Pulsador incorporado para encender o apagar la fuente de luz al abrir o cerrar el aplique. Range · Colección p.166

174

Wall · Pared

Ledtube R — Daniel López, 2012

175

176

Wall · Pared

Ledtube R — Daniel López, 2012

177

Nolita Close attention to the overall proportions is key to the sophistication and elegance of the Nolita collection. The simplicity of design of the Nolita wall contrasts with the translucent injected polycarbonate for the shade, combined with the structure in aluminium.

La colección Nolita es sofisticada y elegante gracias a un trabajo exhaustivo en sus proporciones. Su sencillez formal y constructiva de esta versión aplique contrasta con el material utilizado, policarbonato inyectado transparente, que combina con el acabado aluminio de la estructura.

Conic diffuser with a double shade made of engraved polycarbonate. Aluminium structure.

Difusor cónico de doble pantalla de policarbonato con grabado. Estructura en aluminio.

Structure · Estructura

Nolita A E14 HSGSP/C/UB 46W

Aluminium · Aluminio

E14 LED 5W Shade · Pantalla Translucent · Transparente

26,3cm

16cm

Nolita A

ø25cm 32cm

Range · Colección p.66

178

Wall · Pared

p.100

p.124

Nolita — Joan Gaspar, 2008

179

Nolita Cotton This wall version has a double-screen diffuser made of polycarbonate on the inside and natural cotton ribbons on the outside which creates a cosy lighting atmosphere.

La versión Nolita Cotton dispone de un difusor de doble pantalla con policarbonato en su interior y cintas de algodón crudo en el exterior creando así una confortable atmósfera de luz.

Conic diffuser with a double shade made of polycarbonate on the inside part and raw cotton ribbons on the outside. Anodized aluminium arm and plate.

Difusor cónico de doble pantalla: policarbonato en su interior y cintas de algodón en el exterior. Brazo y placa en aluminio anodizado.

Structure · Estructura

Nolita Cotton A E14 HSGSP/C/UB 46W

Aluminium · Aluminio

E14 LED 5W Shade · Pantalla Natural cotton ribbons · Cinta algodón crudo

26,3cm

16cm

Nolita Cotton A

ø25cm 32cm

Range · Colección p.68

180

Wall · Pared

p.102

p.126

Nolita Cotton — Joan Gaspar, 2009

181

Ledcompass This orientable system of LED reading lights is based on a compass-style joint, which allows the light to be aimed easily 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. With its clean, discreet lines, the Ledcompass is designed to function as a reading light, or to highlight shelves or countertops.

Este sistema orientable de lectores LED parte de una rótula de tipo compás que permite una fácil orientación del haz de luz en todos los sentidos. Inspirado en las salidas de aire de los aviones comerciales, la colección Ledcompass tiene un manejo fácil e intuitivo ya que la tecnología LED permite que el usuario dirija el haz de luz sin quemarse. De líneas puras y discretas, Ledcompass está pensado como lámpara de cabecera o punto de luz en estanterías y rincones que se quieran resaltar.

An injected aluminium body houses a 360° swiveling LED light. Integrated rocker switch at the base of the fixture.

Estructura de aluminio inyectado con un eje en la parte frontal que permite una rotación de 360º de un cilindro con LED. Interruptor incorporado.

Black · Negro (Ral 9005)

Ledcompass / RSC / R

Silver grey · Gris plata (Ral 9006)

LED 3W 700mA 3000K 150lm (included · incluido)

White · Blanco (Ral 9003)

Ledcompass

Ledcompass RSC

Ledcompass R ø9,5cm 12cm 11cm

7cm

10,4cm

8,6cm 15cm

3,4cm

5cm 0,1-3cm

5cm

10cm

ø8cm 5,3cm

13,4cm

ø8,6cm

5,8cm

11cm

182

Wall · Pared

Ledcompass — Joan Gaspar, 2012

183

Ledpipe Well suited as a bedside reading light, one of the Ledpipe’s principle characteristics is the versatility provided by its swiveling, rotating head. The fixture’s soft light is evenly diffused, allowing for direct illumination without glare.

Aplique de gran versatilidad gracias a su cabezal orientable. Idónea como lámpara de cabecera, produce una iluminación óptima para ser utilizada como foco de luz directa sin que se produzcan deslumbramientos.

Structure of painted metal. Injected aluminium diffuser with stainless steel top. Built-in switch.

Estructura de metal pintado. Difusor en inyección de aluminio con tapa de acero inoxidable. Interruptor incorporado en el difusor.

Silver grey · Gris plata (Ral 9006)

Ledpipe C

White · Blanco (Ral 9003)

3W LED 700mA 2700K 115,5lm (included · incluido)

Black · Negro (Ral 9005)

Ledpipe C

13,5cm

16,5cm

5cm

3cm

184

Wall · Pared

Ledpipe — Joan Gaspar, 2005

185

Polo The fluidity of its movements and its integrated LED technology make the Polo a light source with a great precision and versatility. The Polo’s elegant diffuser is made from injected aluminium, with a rotary switch at its base. It is available in both black and white.

186

La fluidez de sus movimientos y el uso de la tecnología LED convierten al Polo en un punto de luz de gran precisión y versatilidad. El cabezal, fabricado en inyección de aluminio, posee un interruptor de rueda en la parte superior. Está disponible en blanco y negro.

Wall · Pared

Polo — Joan Gaspar, 2013

187

Body and diffuser in lacquered aluminium. A switch is incorporated into the diffuser.

Estructura y difusor de aluminio lacado. Interruptor incorporado al difusor.

Black · Negro (Ral 9005)

Polo A

White · Blanco (Ral 9001)

LED 7W 350mA 3000K 520lm (included · incluido)

Polo A

Wall bracket · Soporte pared

Polo A with clamp · Polo A con mordaza

m 4,7c

ø4,5

7cm

10cm

5cm

8,5cm

ø7 cm

10c

11,5cm

1cm

9cm 1,8cm

5cm

4,7c

ø4,5

10c

Polo A hardwired · Polo A conexión directa

ø11cm

5cm

4,7c

m ø4,5cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.94

188

Wall · Pared

p.134

p.212

Polo — Joan Gaspar, 2013

189

190

Wall · Pared

Scotch Club — Xavier Mañosa & Mashallah, 2013

191

Ceramic diffuser with an interior of brilliant white enamel or gold. An inner reflector matches the white enamel or gold of the interior.

Pantalla de cerámica con el interior en esmalte blanco brillante u oro. Reflector de metal blanco o dorado, según el interior de la pantalla.

Scotch Club A 40

White · Blanco White-Gold · Blanco-Oro

2x E27 FBT 18W

Blue-White · Azul-Blanco

2x E27 LED Standard 8W

Blue-Gold · Azul-Oro Scotch Club A 30

Terracotta-White · Terracota-Blanco Terracotta-Gold · Terracota-Oro

2x G9 ECO 33W

Black-White · Negro-Blanco

2x G9 LED 2,2W

Black-Gold · Negro-Oro

Scotch Club A 30

ø40cm

ø14,7cm

ø18,2cm

Scotch Club A 40

14,7cm

ø30cm

11,2cm

Range · Colección p.32

192

Wall · Pared

p.220

Scotch Club — Xavier Mañosa & Mashallah, 2013

193

Tam Tam This wall version of the Tam Tam features either one of two shades (ø22 cm), with 360° rotation. Versatile and cheerful, this fixture invites you to play with color, and we offer a shade selection of black, off-white, orange, brown, green, sand, and blue, with the wall plate always in off-white. The Tam Tam is made to fit your environment, spreading light wherever you place them. The single shade fixture has an incorporated switch and is perfect as a bedside lamp, while the double shade version is great for corridors and general spaces. They may be small, but they’re just as mighty as their big brothers. The Tam Tam is smart, attractive, and will bring a smile to your face.

194

Esta versión de pared posee una o dos pantallas de ø22 cm que pueden orientarse 360º en cualquier posición. Versátiles y alegres, invitan a jugar con los colores, a escoger entre negro, blanco roto, naranja, marrón, verde, arena y azul con la placa de la pared siempre en blanco roto. Encajan en el ambiente iluminando donde se quiera. La versión de una sola pantalla es idónea como lámpara de cabecera con interruptor incorporado, y la versión de dos pantallas es adecuada para instalar en pasillos o iluminar espacios. Quizás son pequeñas pero tan poderosas y espectaculares como sus hermanas mayores. Son inteligentes, agudas, encantadoras y dibujarán una sonrisa en la cara.

Wall · Pared

Tam Tam — Fabien Dumas, 2012

195

White lacquered metal plate. Shade made of lacquered aluminium with an opalescent methacrylate diffuser.

Placa de metal lacado blanco. Pantalla de aluminio lacado con un difusor de metacrilato opal.

Tam Tam A

Base

E14 HSGSP/C/UB 46W

Off-white · Blanco roto (Ral 1013)

E14 LED 5W Shade · Pantalla

E14 FBT 15W

Black · Negro (Ral 9011) Off-white · Blanco roto (Ral 1013)

Tam Tam A2

Orange · Naranja (Ral 2000)

2x E14 HSGSP/C/UB 46W

Brown grey · Marrón gris (Ral 7013)

2x E14 LED 5W 2x E14 FBT 15W

Green · Verde (Ral 6025) Sand · Arena (Ral 7032) Blue · Azul (Ral 5024)

Tam Tam A2

ø35cm

ø22cm

Tam Tam A

ø22cm

24,5cm

ø22cm

26,3cm

23cm

42,5cm

24cm

Range · Colección p.80

p.12

196

Wall · Pared

Tam Tam — Fabien Dumas, 2012

197

Chromed iron wall bracket. Textile shade that floats inside a transparent blown glass structure. Opal diffuser covers the fixture’s top opening.

Soporte de hierro cromado. Pantalla textil que flota en una estructura de cristal soplado transparente. Disco difusor opal en la parte superior.

Mercer A

Natural cotton ribbon · Cinta algodón crudo Pearl white · Blanco perla

E14 HSGSP/C/UB 46W E14 LED 5W

10,8cm

15,4cm

Mercer A

24,3cm

Range · Colección

ø20cm p.52

198

Wall · Pared

p.218

p.144

Mercer — Joan Gaspar & Javier M. Borrás, 2009

199

Scene A wall lamp which provides indirect light, Scene lights the wall in a neutral, discreet manner combining functionality and comfort. Scene features an opening at the front which creates a halo of light to stage this theatrical effect. Made from injected aluminium, it is available in black or white, with LED or halogen light sources.

Lámpara de pared de luz indirecta, Scene ilumina la pared de forma neutra y discreta, con funcionalidad y confort. Como si fuera un escenario iluminado, Scene dispone de una cavidad frontal dotada de un halo de luz que crea este efecto. Realizada en aluminio inyectado, está disponible en blanco o negro, y las fuentes de luz en LED o halógena.

Structure in injection moulded aluminium.

Estructura de inyección de aluminio.

White · Blanco (Ral 9003)

Scene R7s ECO 114mm 120W

Black · Negro (Ral 9005)

LED 14W 3000K 900lm (included · incluido)

8,8cm

Scene

200

5cm

10,3cm

28,7cm

Wall · Pared

Scene — Joan Gaspar, 2014

201

Continua Conceived as a modular system for producing continuous strips of light, the Continua is designed to fit easily in any decorative setting. Warm and understated, it explores new possibilities for interior design. Presented in five different lengths, it can be installed as isolated modules, or continuous strips can be created to illuminate corridors, headboards, etc. Its multi-faceted design also allows it to be used as a base for illuminated signs, and includes an IP44 model ideal for bathrooms. An integrated Ledtube LED reading light can be built into the bottom of the fixture, perfect for a headboard.

202

Ideado como sistema modular para generar franjas longitudinales de luz, es un diseño que contempla su integración en cualquier ambiente mediante recursos decorativos. Sobria y cálida, explora nuevas posibilidades en el interiorismo. Se presenta en cinco largos diferentes. Puede instalarse por módulos aislados o construir líneas de luz continua para iluminar pasillos, cabezales de cama, etc. Su carácter polifacético permite convertirla también en base luminosa para señalética, es idónea en baños ya que está disponible una versión IP44. Como aplique en cabecera de cama está preparada para incorporar una fuente de luz de LED que actúa como lector.

Wall · Pared

Continua — Christophe Mathieu, 2010

203

Extruded anodized aluminium structure and polycarbonate profile with a diffuser in white linen. Chromed aluminium side over.

Estructura extrusionada de aluminio anodizado brillante y perfil de policarbonato con un difusor de lino blanco. Tapas de aluminio cromado.

Structure · Estructura Transparent-Chrome · Transparente-Cromo Diffuser · Difusor White linen · Lino blanco

Continua

8,3cm

12,2cm

9,2cm

32,5 cm

2G11 18W

LED SMD 5,25W 2700K* 416lm

60,5 cm

T5 14W

LED SMD 10,5W 2700K* 832lm

90,5 cm

T5 21W

LED SMD 15,75W 2700K* 1664lm

120,5 cm

T5 28W

LED SMD 21W 2700K* 2080lm

150,5 cm

T5 35W

LED SMD 26,25W 2700K* 2496lm

Continua + Ledtube

Joint kit · Kit de unión

* 3000K available upon request · Bajo pedido

IP44

204

Wall · Pared

Continua — Christophe Mathieu, 2010

205

Manhattan T5 The main virtue of this geometric collection of wall lamps is the rationality of its design and its ornament-free look. An interior silkscreened polycarbonate film complements the high quality of the T5 fluorescent light source, and the fixtures’ shape makes them suitables for vertical or horizontal installation, perfect for bathrooms or kitchen.

La principal característica más destacable de esta colección de apliques geométricos es la racionalidad de su diseño y su estética libre de ornamentos. En su interior, una película de policarbonato serigrafiado aporta una gran calidad a la fuente lumínica que es la fluorescencia T5. Su forma permite la instalación tanto en vertical como en horizontal, idónea para baño o cocina.

Chromed aluminium structure. Diffuser made of silk-screened polycarbonate.

Estructura de aluminio anodizado. Difusor de policarbonato serigrafiado.

Manhattan T5 63.5

Structure · Estructura

T5 24W

Transparent-Chrome · Transparente-Cromo

Manhattan T5 93.5 Diffuser · Difusor

T5 39W

White · Blanco

Manhattan T5 123.5 T5 54W

Manhattan T5 63.5

7.8cm

63.5cm

6.7cm

Manhattan T5 93.5 7.8cm

93.5cm

6.7cm

Manhattan T5 123.5

7.8cm

123.5cm

6.7cm

IP44

206

Wall · Pared

Manhattan T5 — Joan Gaspar, 2005

207

Modular system consisting of polycarbonate profile with an aluminium reflector inside. Chromed zamac brackets. Driver box in white polycarbonate.

Sistema modular compuesto de un perfil de policarbonato con un reflector de aluminio en su interior. Soportes en zamac cromado. Caja del driver en policarbonato blanco.

Structure · Estructura Transparent-Chrome · Transparente-Cromo Diffuser · Difusor Aluminium · Aluminio

5 cm

Neón de Luz NL - A 14,5cm

40cm

A 64,5 cm

LED 18,6W 3000K 2460lm

94,5 cm

LED 29W 3000K 3820lm

124,5 cm

LED 40,4W 3000K 5320lm

154,5 cm

LED 57W 3000K 7500lm

Translucent electrical cord · Cable eléctrico transparente Range · Colección

Dimmable

208

p.50

Wall · Pared

Neón de Luz — Joan Gaspar, 2004

209

Ceiling Techo

Polo The Polo collection has been expanded with this spotlight for both home and commercial applications. This version helps to create focal points of light and linear patterns, and can also be pointed upward on a wall.

La colección Polo se amplía con este foco de techo destinado tanto al ámbito doméstico como al sector contract. Esta versión ayuda a crear una iluminación puntual y disposiciones lineales, aunque también puede ubicarse en tramos altos de pared.

Body and diffuser in lacquered aluminium. Reflector with 36 degree aperture.

Estructura y difusor de aluminio lacado. Reflector con apertura de 36º.

Black · Negro (Ral 9005)

Polo Spot

White · Blanco (Ral 9010)

LED 7W 350mA 3000K 520lm (included · incluido)

Polo Spot ø11,5cm

10c

ø4,5

2,9cm

ø14cm

Black electrical cord · Cable eléctrico en negro Range · Colección p.94

212

p.134

Ceiling · Techo

p.186

Polo — Joan Gaspar, 2014

213

Discocó An exuberant fixture even when turned off, the Discocó offers a rich downward illumination along with a dramatic play of light and soft shadows. Its detailed study of incident light, as well as the reflections from both sides of the discs, provide the lamp with a nuanced, appealing gradation of light and depth. Further reflections dance off the chromecovered semi-sphere at the core, where the discs are anchored. When the light is turned off, it retains its attractive presence, hinting at the expansion of energy that is fully expressed when it is turned on.

Exuberante, también cuando está apagada, la riqueza de luz que emite la lámpara Discocó procura una iluminación directa descendente y, al mismo tiempo, un efectista juego de luces y suaves sombreados. Su detallado estudio de la luz incidente y rebotada en ambas caras de los discos que la componen, da una atractiva graduación de matices lumínicos y profundidad a la pieza. La semiesfera cromada del núcleo, donde se anclan los discos, aporta reflejos suplementarios. Apagada la lámpara preserva su atractiva presencia, sugiriendo esa expansión de energía que cobra todo el sentido al utilizarla.

21 opaque discs made in moulded ABS. Chromed semi-sphere.

21 discos opacos de ABS inyectado. Semiesfera cromada.

Discocó C53

White · Blanco (Ral 9003)

Discocó C68

Matte grey · Gris mate (Ral 7037)

E27 LED Globe (ø120) 14W

Matte beige · Beige mate (Ral 1001)

E27 HSGSA/C/UB 116W

3x E27 LED Globe (ø120) 14W 3x E27 HSGSA/C/UB 57W

Black-Gold · Negro-Oro (Ral 9004) Discocó C88 3x E27 LED Globe (ø120) 14W 3x E27 HSGSA/C/UB 77W

Discocó C68

Discocó C88

ø53cm

54,5cm

43,8cm

34cm

Discocó C53

ø68cm ø88cm

Range · Colección p.18

214

Ceiling · Techo

p.164

Discocó — Christophe Mathieu, 2009

215

Maranga es el nombre de una fruta inventada exquisita, incitante, suculenta. Reinterpreta el estilo escandinavo en cuanto a la esencialidad de la forma y el uso racional de la iluminación para generar un ambiente cálido y confortable. La pantalla está formada por 32 piezas a modo de gajos que se intercalan entre sí dejando escapar resquicios de luz. Este juego de claroscuros genera un efecto rico en matices luminosos e impide el deslumbramiento, al tiempo que la abertura inferior, provista de un difusor, emite luz directa hacia abajo.

A shade made up of 32 polycarbonate sections, all attached. Underneath there is a transparent polycarbonate diffuser with a prismatic engraving.

Pantalla compuesta de 32 piezas de policarbonato unidas entre sí. En la parte inferior, un difusor de policarbonato transparente con grabado prismático.

White · Blanco (Ral 9003)

Maranga C 3x E27 HSGSA/C/UB 77W 3x E27 LED Standard 8W 3x E27 FBT 18W

16cm

Maranga C

ø50cm

Range · Colección p.42

216

Ceiling · Techo

p.104

p.142

Maranga — Christophe Mathieu, 2012

217

Mercer The ceiling version of the Mercer lamp joins this range of lighting fixtures that stand out for their subtle reversal of roles: the cloth shade is inside a structure of transparent blown glass. The glass delicately protects the shade in natural pleated cotton or in a sophisticated pearl white fabric, at the same time as producing additional reflections. The main aim of this lamp is to give the ceiling of a room a delicate, warm glow, at the same time as providing illumination.

La versión de techo de la lámpara Mercer se une a esta familia de luminarias que destaca por una sutil inversión de papeles: la pantalla de tela queda en el interior de una estructura de cristal soplado transparente. El cristal protege con delicadeza un acogedor plisado de algodón crudo o un sofisticado tejido blanco perla, a la vez que genera reflejos adicionales. El objetivo principal de este aplique es vestir el techo de una estancia con un traje ligero y cálido mientras ilumina.

Textile shade that floats inside a transparent blown glass structure. Opal diffuser disc on the lower part.

Pantalla textil que flota en una estructura de cristal soplado transparente. Disco difusor opal en la parte inferior.

Mercer C

Natural cotton ribbon · Cinta algodón crudo

2x E27 HSGSA/C/UB 46W

Pearl white · Blanco perla

2x E27 LED Standard 8W 2x E27 FBT 18W

Mercer C

17,6cm

15,2cm

ø 14cm

ø44cm

Range · Colección p.52

218

Ceiling · Techo

p.144

p.198

Mercer — Joan Gaspar & Javier M. Borrás, 2010

219

Ceramic diffuser with the inner part in brilliant white enamel or gold.

Pantalla de cerámica con el interior en esmalte blanco brillante u oro.

White · Blanco

Scotch Club C

White-Gold · Blanco-Oro

G9 33W ECO

Blue-White · Azul-Blanco

G9 LED 2,2W

Blue-Gold · Azul-Oro Terracotta-White · Terracota-Blanco Terracotta-Gold · Terracota-Oro Black-White · Negro-Blanco Black-Gold · Negro-Oro

12,9cm

Scotch Club C

ø11,8cm

ø14,7cm

Range · Colección p.32

220

Ceiling · Techo

p.190

Scotch Club — Xavier Mañosa & Mashallah, 2013

221

Shade in rotary moulded polyethylene. Methacrylate opal diffuser.

Pantalla de polietileno rotomoldeado. Difusor de metacrilato opal.

Soho C 57

White · Blanco Stone grey · Gris piedra

Soho C 112 8x T5 24W

T5-C 22W+40W

Black · Negro

LED SMD 28,1W 700mA 2700K**

LED SMD 127,2W 300mA 2700K**

3800lm

16680lm (included · incluido) (5x QR111 GU53 12V 35-50W) +

Soho C 112 36,4 cm

18,5 cm

Soho C 57

(22+40W)

ø57cm

ø112,6 cm

* Only LED version · Sólo versión LED ** 3000K available upon request · Bajo pedido Dimmable *

222

Range · Colección p.44

Ceiling · Techo

p.244

Soho — Joan Gaspar, 2010

223

Plaff-On! The informal tone of its name perfectly matches the intention to offer an alternative to this type of lighting fixture. A ceiling lamp whose beauty lies in its simplicity and clarity, at the same time as offering multiple lighting effects thanks to its design. The structure around the diffuser, in blown white glass, is set slightly apart from the ceiling and filters the light upwards, creating a glowing halo. This same aluminium ring, which is also white on the inside, acts as a reflector and creates a new halo that surrounds the shade with direct light. Available in three diameters, it can also be used as a wall fixture.

224

El tono de desenfado del nombre es un reclamo que subraya su intención de ofrecer una alternativa a este tipo de luminaria. Es un plafón que busca su atractivo en la simplicidad y nitidez, pero también en el efecto de luz múltiple, alcanzado gracias a su diseño. La estructura que orbita alrededor del difusor, de vidrio soplado blanco, queda ligeramente despegada del techo y filtra la luz hacia arriba generando un halo luminoso. Ese mismo aro de aluminio, también blanco en su interior, actúa como reflector y crea un nuevo halo que circunda la pantalla con luz directa. Disponible en tres diámetros, puede utilizarse además como aplique de pared.

Ceiling · Techo

Plaff-On! — Joan Gaspar, 2010

225

Ring made of lacquered aluminium which supports an opal blown glass shade.

Aro de aluminio lacado que soporta un cristal soplado opal.

Plaff-on! 50

Plaff-on! 20

Structure · Estructura

2x G9 ECO 48W

Silver grey · Gris plata

T5-C 22W+40W 4x HSGSA/C/UB 46W

2x G9 LED 2,2W LED SMD 8W 700mA 2700K 1050lm

Black · Negro

4x E27 LED Standard 8W

(included · incluido)

Diffuser · Difusor

4x E27 FBT 18W LED SMD 28,1W 700mA 2700K

White · Blanco Plaff-on! 33

3800lm (included · incluido)

2x HSGSA/C/UB 46W 2x E27 LED Standard 8W 2x E27 FBT 18W 2x G24 q-3 TC-DEL 26W LED SMD 21W 700mA 2700K 3000lm (included · incluido)

Plaff-on! 20

Plaff-on! 33

Plaff-on! 50 13,8cm

11,8cm

9,9cm

6,3cm

7,5cm ø20cm 9cm

ø33cm

ø 50cm

* Only LED versions · Sólo versiones LED Dimmable *

226

Ceiling · Techo

Plaff-On! — Joan Gaspar, 2010

227

Atlas Atlas transforms a common bulb into a spotlight, enveloping it following 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. Made of transparent polycarbonate and a polyamide base, this directional spotlight can be grouped in bases of 2 and 3 units, and it is also suitable to be installed on track.

Atlas convierte la bombilla de uso común en un foco, tras enfundarla siguiendo su contorno. Tomando su desnudez como punto de partida, la viste con un traje transparente que además tiene la virtud de conferirle ligereza. Fabricado en policarbonato transparente y una base de poliamida, Atlas también puede agruparse en bases de 2 o 3 unidades o instalarse en un carril.

Transparent polycarbonate shade that envelopes the light source. Stainless steel and teflon joint. Base made of white polyamide.

Difusor de policarbonato transparente que envuelve la bombilla. Rótula de acero inoxidable y teflón. Base de poliamida blanca.

Atlas / Atlas Ad.

Translucent · Transparente

E27 PAR 30 75W E27 LED PAR30 12W

Atlas

Atlas Ad.*

Base Atlas 2

Base Atlas 3

12,7cm

12,7cm 25cm

37,5cm

17cm

23cm

5,5cm 7,9cm

3cm

ø10cm

ø11cm ø11cm

* Atlas with track adaptor · Atlas con adaptador a raíl Range · Colección

COOL BEAM

228

p.70

Ceiling · Techo

Atlas — Joan Gaspar, 2000

229

230

Ceiling · Techo

Atlas — Joan Gaspar, 2000

231

Outdoor Exterior

Santorini Inspired by the lanterns found on fishing boats, this collection of customizable outdoor lamps allows you to create multiple compositions. Users can choose how many shades to place on the diffuser, along with their order, position and direction. Available with white, grey, or mustard-colored shades, this interplay of combinations yields a rich array of direct or reflected light. The Santorini collection can be hung from the ceiling, either individually or clustered together, or they can be strung up like a garland. They also work as wall lamps or standing lamps using accessories that can easily be added. The Santorini is also available as a fixedstem wall or ceiling fixture. The metal stem provides rigidity to the light, improving its usability in outdoor applications and lending the fixture a more solid appearance.

234

Inspirada en los fanales de los barcos de pesca, esta colección de exterior personalizable permite crear múltiples composiciones. El usuario escoge el número de aros-pantalla a colocar en el difusor, su orden, posición y la orientación de las viseras. De este juego de combinatorias se deriva una rica gama de luces directas o reflejadas. La colección Santorini puede suspenderse del techo, individualmente o en grupo, o ir colgada en forma de guirnalda. Funciona también como aplique de pared o lámpara de pie, con soportes accesorios donde se anuda de modo informal. Las variantes de la lámpara Santorini se multiplican con la elección del color de los aros, producidos en blanco, gris y mostaza. La colección Santorini se amplía con la incorporación de dos versiones de techo y pared con una sujeción más convencional en forma de estructura de tubo que le confieren un aspecto más sólido a la luminaria.

Outdoor · Exterior

Santorini — Sputnik Studio, 2014

235

Difusor de cristal soplado y prensado, fijado a una estructura de policarbonato gris con pantallas de varios colores. Estructura y accesorios en metal lacado en gris con tratamiento antioxidante de cataforesis para exterior.

Blown, pressed glass diffuser attached to a grey polycarbonate structure. Shades available in numerous colours. Metal support and accessories on grey with stainless anti-oxidant cataphoresis treatment for outdoor.

Santorini / A Fixed Stem / C

White · Blanco (Ral 9003) Grey · Gris (Ral 7039)

E27 FBA 15W

Mustard · Mostaza (Ral 1032)

E27 LED Standard 8W

Santorini

Santorini A Fixed Stem

Santorini C ø12cm

36,9cm

ø10cm

25,8cm

38,6cm

25,8cm

450cm

ø12cm

28,7cm

Floor accessory · Soporte pie

ø10cm

ø21,2cm ø10cm

ø21,2cm

Hardwired wall bracket IP65 · Soporte pared IP65 ø12cm

Garland accessory · Accesorio Guirnalda

22,7cm

ø11,2cm

172,2cm

3cm

ø12cm

Canopy IP65 · Florón IP65 3,5cm

Canopy · Florón 3,5cm

Wall bracket · Soporte pared

ø11,2cm ø33cm

20cm

Black electrical cord · Cable eléctrico en negro

IP65

236

Outdoor · Exterior

Santorini — Sputnik Studio, 2014

237

238

Outdoor · Exterior

Santorini — Sputnik Studio, 2014

239

240

Outdoor · Exterior

Santorini — Sputnik Studio, 2014

241

242

Outdoor · Exterior

Santorini — Sputnik Studio, 2014

243

Soho Soho is presented as a statement, in recognition of the merits of the lamps traditionally used in markets, taverns and cafeterias. After studying different volumes, proportions and materials, new uses and lighting effects have emerged. Thanks to the use of rotary moulded polyethylene, large sizes can be obtained. With a diameter of 112 cm, it has been conceived for large spaces, while the 57 cm model is ideal for lighting a dining table. In the translucent white version, the whole structure emits ambient light. This outdoor model is suitable for illuminating porches, gardens and terraces or open-air dining areas. This year, the Soho comes in two exterior versions – wall and ceiling – with a tube structure that allows the product to be used in a more architectural way to light up façades or outdoor spaces.

244

Soho se presenta como un alegato. Es un reconocimiento a los méritos de esa lámpara empleada tradicionalmente en mercados, tabernas y cafeterías. Tras reflexionar entorno a volúmenes, proporciones y materiales han surgido nuevos usos y efectos lumínicos. El empleo de polietileno rotomoldeado permite una pieza de gran tamaño. Con diámetro de 112 cm se ha concebido para grandes espacios, mientras que la de 57 cm ilumina perfectamente una mesa de comedor. En la versión translúcida blanca, todo el cuerpo se convierte en emisor de luz ambiente. La versión Soho de exterior es idónea para iluminar porches, jardines y terrazas o comedores al aire libre. En esta ocasión, se presentan dos versiones de exterior –pared y techo– con estructura tubular fija que permite utilizar el producto de forma más arquitectural, como en la iluminación de fachadas.

Outdoor · Exterior

Soho — Joan Gaspar, 2010

245

Shade in rotary moulded polyethylene. Methacrylate opal diffuser. Metal support lacquered in black with stainless antioxidant cataphoresis treatment for outdoor. Cable support for the wall version.

Pantalla de polietileno rotomoldeado. Difusor de metacrilato opal. Estructura metálica lacada en negro con tratamiento antioxidante de cataforesis para exterior. Tensor de acero en la versión de pared.

Soho 57 / A / C Fixed Stem

White · Blanco

Soho 112

Stone grey · Gris piedra

T5-C 22W+40W

8x T5 24W

Black · Negro

T5-C 40W

LED SMD 127,2W 300mA 2700K 16680lm (included · incluido)

LED SMD 28,1W 700mA 2700K 3800lm (included · incluido)

Soho 112

30,5cm

300cm

200cm

Soho 57

60,7cm

ø57cm

ø112,6cm

Soho A

Soho C Fixed Stem

ø57cm

30,5cm

70,5cm

40,3cm

30,5cm

88,8cm

ø57cm

White electrical cord for white finish. Black electrical cord for other finishes · Cable eléctrico en blanco cuando el modelo es en blanco. El resto es en negro * Only LED version · Sólo en versiones LED

IP44

246

Range · Colección

Dimmable *

p.44

Outdoor · Exterior

p.222

Soho — Joan Gaspar, 2010

247

Cala Creating a warm, comfortable indoor atmosphere in an outdoor space: this is the aim of the Cala. A highly decorative light, its structure draws on the simplicity of an outdoor cafe table of the classic painter’s easel. The rotary moulded polyethylene shade is enclosed in a zipped Textilene sleeve whichfilters the light and gives it a texture rich in nuances. IP65 rated, it is available in suspension, table and floor version. There is also a wood indoor version, available in three sizes.

248

Crear un ambiente confortable y cálido de interior en un espacio de exterior. Este es el objetivo de Cala, una lámpara con fuerte carga decorativa y cuya estructura bebe de la sencillez de las mesas metálicas de bar o los clásicos caballetes de pintor. La pantalla de polietileno rotomoldeado está envuelta por una funda de textilene con cremallera que tamiza la luz y le confiere una textura rica en matices. Con un IP65, la familia Cala se compone de una versión de suspensión, de sobremesa y otra de pie con la estructura metálica o de madera de iroko. Existe también una versión de interior de madera con tres medidas.

Outdoor · Exterior

Cala — Joan Gaspar, 2012

249

Structure in painted iron or iroko wood. A rotary moulded polyethylene shade is enclosed in a zipped textilene sleeve. Painted iron base with stainless cataphoresis treatment.

Structure · Estructura

Estructura de metal o de madera iroko. Pantalla de polipropileno rotomoldeado con una funda de textilene en marrón. Base de metal con tratamiento antioxidante de cataforesis.

Cala IP65

Grey · Gris*

2x E27 LED Standard 8W

Dark iroko · Iroko oscuro

2x E27 FBT 18W

Shade · Pantalla Brown · Marrón * Only for the floor version · Sólo para la versión de pie

Cala 140 IP65

Weighted base · Base con peso 24cm

39cm

33cm

60cm

4,8cm

Cala S IP65

24cm

Cala Susp. IP65

29,5cm 24cm

41,7cm

140cm

Floor bracket kit · Kit fijación suelo 42cm

8cm

ø53cm

Weighted base · Base con peso: 5,5 Kg. Black electrical cord · Cable eléctrico en negro Range · Colección

IP65

250

p.84

Outdoor · Exterior

Cala — Joan Gaspar, 2012

251

252

Outdoor — Exterior

Cala — Joan Gaspar, 2012

253

254

Outdoor · Exterior

Cala — Joan Gaspar, 2012

255

TXL 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.

256

Pensada para iluminar jardines y terrazas, TXL emite una luz de gran calidez como si de una lámpara de interior se tratara. Resistente y colosal, la versión de pie se asienta sobre una losa de pizarra que sostiene una pantalla de gran volumen realizada en fibra de vidrio recubierta con material de plástico. La versión de suspensión destaca por su ligereza y resulta idónea para iluminar mesas de exterior.

Outdoor · Exterior

TXL — Joan Gaspar, 2007

257

Cast iron base with slate, and metallic stem, both with stainless cataphoresis treatment. Shade made of textilene ribbons. Diffuser in white acid etched glass.

Structure · Estructura

Base de fundición de hierro con piedra de pizarra, y fuste de metal; ambos con tratamiento antioxidante cataforesis. Pantalla de cintas de textilene. Difusor de cristal blanco al ácido.

TXL 170 / Susp. 58 3x E14 FBT 15W

Grey · Gris

3x E14 LED 5W Shade · Pantalla TXL 205 / Susp. 70

White · Blanco

2x E27 FBT 22W 2x E27 LED Standard 8W

TXL Susp. 58

TXL Susp. 70

TXL 170

TXL 205 ø70cm

45,5cm

37,5cm

200cm

ø58cm

170cm

204cm

ø70cm

41,5cm

50cm

Buit-in switch · Interruptor integrado

Black electrical cord · Cable eléctrico en negro

IP44

258

Outdoor · Exterior

TXL — Joan Gaspar, 2007

259

260

Outdoor · Exterior

TXL — Joan Gaspar, 2007

261

Lab Sober, architectural, practical… The Lab is an outdoor wall lamp that incorporates LED technology. A variable frontlet—made of stone-like, iroko wood, or either black, grey, or white aluminium—allows it to alternately blend in to or stand out from its surroundings, making it an extremely versatile fixture ideal for a variety of applications. In addition, custom signage can be integrated into the frontlet, in accordance with the style of graphic design in use in a given public area.

262

Sobrio, arquitectónico, funcional… Lab es un aplique de pared para exterior con tecnología LED que se integra o destaca en el espacio gracias a los diferentes materiales que pueden utilizarse en el frontal: madera de iroko, símil piedra, aluminio pintado de blanco, negro o gris. Asimismo, se puede incluir señalética específica según el estilo del diseño gráfico aplicable al espacio público.

Outdoor · Exterior

Lab — Francesc Rifé, 2012

263

Structure made of injected aluminium with frontal lids in metal, wood or stone-like, to be chosen.

Estructura de aluminio inyectado con tapas frontales en metal, madera o símil piedra, según elección.

Lab 1

Structure · Estructura

LED 3W 700mA 3000K 150lm (included · incluido)

White · Blanco Black · Negro

Lab 2 Lid · Tapa

2x LED 3W 700mA 3000K 300lm (included · incluido)

White · Blanco Grey · Gris Black · Negro Dark Iroko · Iroko oscuro Light Iroko · Iroko claro Stone-like · Símil-piedra

12.6cm

Lab 2

12.6cm

Lab 1

8cm

12.6cm

8cm

Signage lid available upon request (Lab 2 only) · Tapa señalética sobre pedido (sólo con Lab 2)

IP65

264

Outdoor · Exterior

Lab — Francesc Rifé, 2012

265

266

Outdoor · Exterior

Lab — Francesc Rifé, 2012

267

Symbols · Símbolos COOL BEAM Basic insulation plus second insulation or both replaced by reinforced insulation. Earthing excluded. · Aislamiento básico más aislamiento secundario o ambos substituidos por un aislamiento reforzado. Toma de tierra excluida.

Dimmer

Product which can be dimmed. · Producto que puede ser regulado en intensidad de luz.

Electric fittings are preset in order to prevent the intrusion and contact with solids and liquids with live parts. Resistance against the penetration of solids and liquids is expressed by the initials IP, followed by two digits that stand for the degree of protection: the first referring to solids, the second to liquids. · Los aparatos eléctricos están preparados para impedir la entrada y el contacto de cuerpos sólidos y de líquidos con las partes eléctricas. La resistencia a la penetración de sólidos y líquidos se expresa mediante las siglas IP seguidas de un número de dos dígitos que expresa el grado de protección: el primer dígito se refiere a los objetos sólidos, y el segundo, a los líquidos.

ISO 9001

Energy Class · Clase Energética

Marset holds ISO 9001 certification on Quality Management Systems. · Marset posee el certificado ISO 9001 y cumple los requisitos del Sistema de Gestión de la Calidad.

Marset keeps its products updated based on the availability of light sources and their energy classification. Information available on the official website: www.marset.com · Marset mantiene actualizada la información de las fuentes de luz y su clasificación energética en la página web oficial: www.marset.com

Do not use bulbs with cold-light dichroic reflector. · No utilizar lámparas con reflector dicroico de luz fría.

Dimmable

Dimmer on the unit. · Dimmer en la lámpara.

IP...

Certifications · Certificados

All products are manufactured according to the set safety and electromagnetism standards of Europe: EN 60598-1, EN 60598-2-1 and marked CE. · Todos los productos están fabricados siguiendo las normas de seguridad y electromagnetismo de Europa: EN 60598-1, EN 60598-2-1 y marcado CE.

268

Symbols & Certifications · Símbolos y Certificados

Coordination · Coordinación Isabel Valle Concept, graphic design, art direction & creative direction in production · Concepto, diseño gráfico, dirección de arte y dirección creativa en producción Folch

Photography · Fotografia Alexis Taulé Coke Bartrina Klunderbie Leo García Marc Serra Mariluz Vidal Miguel Fernández Illustration · Ilustración

Pol Montserrat

Printing · Impresión Ingoprint Printed in · Impreso en Barcelona December · Diciembre 2015

Credits · Créditos

271

‘reflections on light’

Introduction

Behind any object, especially those concerned with light, there is a clear intention to attempt to improve the quality of life of the user and take care of the space in which the light is found. Light allows us to see our surroundings; as such, looking after light is essential, and it is precisely this that is at the heart of this project. ‘Reflections on light’ gathers a series of conversations with designers, architects and artists who work with and think about light every day. These films and interviews focus on the people behind the objects, concentrating on their creative vision and background from which their ideas are born; the importance of the beauty of wellmade objects, and how the objects affect our perception of life.

Imma Bermúdez p.04 Stefano Colli p.20 Joan Gaspar p.34 Xavier Mañosa p.50 Maria Reig p.66 Christophe Mathieu p.82 Mathias Hahn p.98 9 781940 291826

Interview

Reflection 1

Inma Bermúdez “My favorite kind of light is candlelight with its flickering flame.”

Born in Murcia in 1977, at the tender age of one week old Inma Bermúdez moved to Valencia —a fount of Spanish creativity— where she would eventually study design. Today she works for a wide variety of companies in different countries. Though she is still based at her country home, 20 km from Valencia —where she lives with her dogs, hens, vegetable patch, and close enough to her family to maintain a tradition of Sunday paella— she travels all over the world to launch new products. With the FollowMe, she feels she is adding a feminine touch to the Marset line.

Interview

On what day did you become a designer? I have liked to create things my entire life. I have been creative and curious since I was little. I think that the day I began to be a designer was precisely when I began to work. I have always been insecure, and I did not have the sense that I was capable of creating anything until I saw that I was able to design things that were manufactured and brought to market. Is the idea of having the ability to create things very powerful? I think that this perspective comes from a person who is not living in the skin of a designer, because to me it is totally natural. On the other hand, the job of a surgeon seems incredible to me because I am totally unfamiliar with that field. To me, creating is natural, and I love it, it comes easily, I don’t have to think a lot about what I am doing, I just do it. Where did you study? I studied in Valencia, and in my last year at university I went on an Erasmus trip to Germany. It was hard, but not too hard because my first rule after I arrived was not to compare, because if I compare it with what I had experienced at home, I’m always going to prefer what I am more familiar with. When I live someplace else, my philosophy has always been to make the most of the place. This helps a lot; it lets you get to know people from another perspective and to be more relaxed. In Germany I learned the culture of recycling, I began to get close to nature, to animals. I met people who lived with hens and goats, who had their

own vegetable gardens, and I began to feel curious. And that is one of the reasons why I live the way I do now: in a house built in a sustainable way, with animals, a vegetable garden, hens and roosters, in a very relaxed way. An atmosphere like that helps me to get the peace and quiet I need to create. After that, I worked in France in the summers in design workshops organised by the Vitra Design Museum. And later still I did an internship at Ikea and went to Sweden. I spent the winter there – it was a bit hard because there was no light. I ate tons of chocolate, a total anti-depressant, but I learned a lot and it brought out the best in me. After six years abroad and living back in Valencia, I worked at Lladró, which taught me about the world of porcelain. What is light? That’s a difficult question… light is everything. If we didn’t have light, we couldn’t eat, we couldn’t live. In this sense, light gives us life, it’s necessary for everything… Light is life, happiness, enthusiasm, warmth… love. Light is everything. Ultimately, if there is no light, there is nothing. What does a beautiful light make you feel? It makes me feel peaceful, quiet… I am really bothered when a light isn’t good. It affects my mood. What is a beautiful light like? To me it is candlelight, firelight, the light of a flame. This might be a bit anthropological, coming from back when we used to live in caves and use fire to illuminate things. At my home, when we light the fireplace, you can spend hours watching the flames. It’s an amazing feeling. It captivates you – it’s hypnotising.

Inma Bermúdez

Interview

Inma BermĂşdez

Interview

Inma Bermúdez

And yet you make artificial light... Yes, I make artificial light, but I am very careful with the kind of light I make: the tone, the intensity and the warmth of the light are very important. They are essential factors when designing a light. We all have memories associated with life. Tell us one of yours I live in Valencia, a city by the sea, and when I was a little girl I didn’t have a village to go to on the weekends, and in the summer we used to go to the beach by car. We would get there in the morning, and the reflection of the sun on the sea and the enthusiasm you have when you’re a child and you go to spend a day at the beach is a really happy memory of mine. In addition it is also associated with the sea, and the sea is very important in my life. You are Mediterranean... Yes, I’m very Mediterranean, plus I would fight tooth and nail to defend being Mediterranean. I like it. I think we’re sensitive, outgoing people. I love the Mediterranean diet, olive oil, tomatoes. I really defend everything Mediterranean. What are the values of being Mediterranean? Subjectively, it’s being a joyful person, a person with light, fun… Do you think that the place you grew up, the Mediterranean, has affected the way you design? More than that, I think that the most important thing is to put yourself in the shoes of the user. Designing also means thinking about the role of the user, identifying the problem and trying to provide a solution. More than thinking about the origin of the designer’s culture, you have to determine the experience with this object, the psychology of the object.

What do your designs say about you? That depends on for whom you make things. For Ikea, my designs are very practical – they’re smart. For Marset, the FollowMe lamp says a lot about who I am. I am quite an expressive, spontaneous person, and people like the lamp; they smile when they see it. I am functional for Ikea, I am the more romantic or floral Inma for Lladró, and for Marset I might be the more emotional Inma. Do the things you design have a soul? Yes, objects have a soul, they convey something to you, they speak to you, they are made to be touched and used. In fact, when you create them you have to think about this soul, about this language, which is what they are going to do, or how they are going to interact. What is an optimistic lamp like? A lamp that makes you smile, that draws a smile from you, that gives you a light that makes your eyes shine. A lamp that you love – to me this is the kind of design I like. It is not always possible, but I think that we’ve achieved it with the FollowMe.

Interview

Inma Bermúdez

“Ultimatel y, if there is no ligh t, there is I.B. nothi ng.”

Interview

Inma BermĂşdez

Interview

Is design a lifestyle? Design is more a way of thinking. A designer is a curious person. You like to know the reason behind things, and ultimately it is a way of seeing life. When you travel, you see things differently. You think: How was that made? What material is it made of? Where do your ideas come from? Mainly from working… ideas come by thinking of them! What is the perfect lamp like? I think that everyone has their own definition of perfection. To me, it is a lamp that I want to have, that gives good light, a lamp that I like having wherever it is.

Ultimately everyone likes it. After that it’s a question of price, but everyone who sees it smiles and likes it. And that’s really difficult, to get a product that almost everyone responds well to. We human beings have different tastes, and each one is the son or daughter of different parents, so it’s difficult to reach everyone… Tell me about the FollowMe. Follow me, follow the light. I love its name – it’s like a treat. Its name is part of the product’s essence. The FollowMe is a portable, wireless lamp with batteries. You carry it with you so it’s like a gadget. How did you come up with it? I like to dig into the company’s past, and I asked Marset for information on old designs from 20 or 30 years ago. So Javier Marset sent me a catalogue and I discovered a lamp from the 1970s which was called the Flash. It was a table lamp and I really liked the way the top was attached. That was my point of departure. With the sketch in hand, Javier gave me his marketing perspective and talked about a market niche: battery-powered lamps. Usually they have a more camping-style aesthetic, more practical, so I began to work to make it really attractive. And in conjunction with Marset’s technical department we managed to create this delight.

And perfect light? That’s difficult because it depends on what it’s for, what mood – depending on the action you’re doing, you need a different kind of light. My favourite light far and away is firelight. What remains for you to do? Lots of things. I want to be happy, travel, have a family… My most important goal is happiness, and to find it is it important to be near the people you love, my family and my dogs. The best reward with FollowMe is having created something that makes people smile, that they like as much as I do. It means that it’s a job well done.

Inma Bermúdez

Interview

Inma BermĂşdez

Interview

Reflection 2

Stefano Colli â&#x20AC;&#x153;Light is life. It is being able to recognize everythingâ&#x20AC;?

Stefano Colli was born in 1966 in Reggio Emilia, the birthplace of Parmesan and balsamic vinegar. He studied architecture and design taught by great enthusiasts in these fields, such as Achille Castiglioni, Bruno Munari, Enzo Mari and Vico Magistretti. It was after his studies that life lead him to Barcelona where he built his professional career and started a family. After more than 25 years as an architect, Stefano claims that architecture is a tool for communicating and expressing emotion. In recent years he has specialised in corporate interior design, and has become concerned with how company strategies and innovation are conveyed through the interior spaces. He strives to find new ways of perceiving design, generating projects that are more accessible and viable for all audiences.

Interview

What is Stefano Colli like as a professional? Curious, passionate, emotional and normal. I defend normality as something exceptional these days. This obsession with being special! I think that good and healthy normality is more important than being special. How do you tackle a project? Projects don’t usually come to you at a table with music and a pencil; they come to you when you are in bed about to fall asleep or wake up, or driving a car at night when your family has fallen asleep and you’re listening to music. At those times you suddenly get a whirlwind of ideas and questions that you start to organise them in your mind. I always need to set two or three points, and interesting decisions swarm around these points to make the projects feasible. When you have to design, I think it is important not to deal with mistakes negatively and with fear, but to instead take advantage of them to learn and seek innovation through mistakes…If you remain comfortable, you are secure but you don’t open yourself up to new spheres; you don’t tread new pathways; you don’t have the chance to move forward or innovate. You have to be brave and lose your fear discovering new things in order to add value to the design. Can you describe a sensation you have felt when looking at a given work? Some architectural works have inspired major sensations in me; sometimes they are even thrilling or leave me with goose flesh. It’s just like when you see a special film, listen to good music or see a work of art that really touches you, touches your soul. In architecture this is due tothe quality of the materials, the mix of textures, the light that is generated and the composition of the spaces. It is something that has happened to me more than once.

It also happens to me a lot outdoors, in the mountains or woods. I often go for walks in the woods, and I usually prefer to go alone. Why alone? Because it’s a personal moment in a very suggestive place where I feel really good. Why do you like the woods so much? Because there is an interesting mix of stimuli, of lights, noises, textures and smells. I love the smell of the moisture in forests in the autumn; I love the light.

What kind of light do you usually find in the woods? Filtered light, for example. It’s a kind of light with a spectacular quality because it goes through the lattice created by the leaves and branches. Or the light that reflects off the ground after it rains. Plus, in the woods there are endless textures that stand out in the light… the moss and tree bark are really inspiring. I like to transfer this kind of suggestion to the materials and finishes we use when designing spaces. I would like all these values and qualities to be reflected in the spaces we design. You mean you’d like to transport nature there? More than transporting nature into an enclosed, artificial space, I would prefer to translate the feelings it can inspire.

Stefano Colli

Interview

Stefano Colli

Interview

Stefano Colli

“Whatever t ouches your feelings, co mmunicates something to you and harmonise s with you, S.C. is beautiful.”

Interview

Stefano Colli

Where do you find inspiration? In other architects? There are many other disciplines which have nothing to do with design and architecture that attract me and fascinate me because of their complexity and the emotional connection they are capable of generating. For instance, I am attracted to food, to the cooks’ ability to create a dish as an experience of flavours, of contrasts and textures. I think that food is the most rational, creative discipline you can find because it involves a perfect experience in its execution. You like music a lot... I think it is something magnificent that feeds your soul. Music is highly therapeutic and helps you get through times of suffering or when you’re blue. Music goes straight to your heart. Can everything be beautiful? Whatever touches your feelings, communicates something to you and harmonises with you is beautiful. What is light? Light is life. It is being able to recognise everything, being able to walk; you can’t move forward without it. Light in the design of spaces is everything because without light there is no texture, no volume, no colour. Light is what lets us see the composition of all of these aspects of a space. What is your favourite light? There is no one good light. In any space, there have to be darker areas so that you can better appreciate the areas with more light. There have to be different situations of light. Furthermore, light also has to be changeable depending on what you are doing in the space, or who you are with. What is our relationship with light? In general in projects, particularly in light, there are two components: the rational, more functional part, where enough light is

needed to be able to work or just be there. And then there is the more emotional part, which follows your mood and depends on how you want to feel in this space. Because of this, it is very important to be able to change the light in a space and for the light to reflect your mood. Does the perfect lamp exist? The perfect lamp does not exist. It depends on the situation, the place and especially the person it is for. Every person has his or her perfect lamp.

“When you have to design, I think it is important not to deal with mistakes negatively and with fear, but to instead take advantage of them to learn and seek innovation through mistakes…”

Interview

Stefano Colli

Interview

Stefano Colli

Interview

Reflection 3

Joan Gaspar “There should be a perfect light for every moment”

Joan Gaspar learned the trade of industrial design by working with Lluís Porqueras in the late 1980’s in a small lamp workshop in Barcelona’s Poble Nou neighborhood. Since then he has designed countless products, all characterized by simplicity as their unquestioned hallmark, with a special focus on the lighting sector. However, he is also on the verge of celebrating two decades as the Product Manager at Marset. Gaspar is interested in talking about what we do not see in lamps. What we see, he says, is obvious. You can tell that he enjoys finding solutions to any issue put to him, paper and pencil in hand, or turning the object around and around. It is clear that he likes all his i’s dotted and t’s crossed.

Interview

Aren’t you an artist? I don’t consider myself an artist. My joy is not a job for artists. In fact, the language of industrial design and the decisions taken when designing and manufacturing a product do not tend to have much to do with art. The job of a designer encompasses many facets. We cannot forget that we are working with the product, which tends to be the core of any company. We cannot lose sight of the fact that our job is a trade. The product has to work, and the clients and people have to like it.

You are the product manager at Marset. What does a product manager do? I choose the products to be made, how they are made, what materials they are made of, what feelings the lamp should convey, what perception of quality it gives off, what kind of light it makes, what purpose it must fill. There is always a relationship between the technology and the material used on the one hand and the perception of quality and the light it gives off on the other. The process of bringing a product to market is quite complex. Oftentimes during product development, some don’t make it and end up never being manufactured. Success comes after many failures. What are Marset’s values? We try to make our decorative products not too attention-grabbing. We pay plenty of attention to the lights so that they have a high perception of value, they are well proportioned, they are decorative whether they are turned off or on, and ultimately they are beautiful. At Marset, we also try

to ensure that our products last over time, and perhaps this means that they are not overly dictated by trends. If you make beautiful objects which also give off good light and are not too tendentious, they can last a longer time span. I like products to last. As a designer, you have to use the materials that best fit the product; just because everyone is using something does not necessarily mean that it will work three or four years down the road. What is a perfect light like? A perfect lamp might be a lamp that is formally beautiful and lights well, that is not bothersome when it is on. I like lamp light not to be invasive, not to light everywhere, and I like it when the light that the lamp itself receives lets you see interesting things about the product itself and its construction. It might sometimes decorate, but it shouldn’t be too attention-grabbing, and when it is on it should have this second life, so that when you see it you say, “Wow, how beautiful!” What part of the product development process do you enjoy the most? When I begin to see the first attempts at the volumetrics, although I also really enjoy drawing, I always draw all day long. I have an idea, I grab a piece of paper and I immediately draw it. I always carry these notebooks on me. And perhaps the part I like the least is the buying process, commissioning moulds and asking for estimates. There are other people at Marset who are much better qualified to do this than I am.

Joan Gaspar

Interview

Joan Gaspar

Interview

Joan Gaspar

Do you like limitations? It’s not that I like them, but you can’t work without them. It would make no sense to design without them. In my profession, there are also technical, industrial, technological and size limitations. Materials and technology are our language. When you see an object, you may not wonder what it’s made of, but many of the feelings that the product conveys come from the technique that was used. What is interesting is that you can inspire emotions through technique.

What is designing? Designing actually means thinking and structuring. Because ultimately, everything you see around you, all the products that surround you in your life, were made this way, but they could have been made a different way. There is always someone behind the scenes deciding, choosing and thinking about what is best for this object. The designer has to keep in mind not only the features of this product but also what they want it to convey, what the brand wants to communicate with its collection. You draw by hand, but you have a 3-D printer. I draw by hand, but ultimately we need technology. It lets me see things much more quickly, especially when building scale models, and I’m actually pretty impatient. How so? When we decide to make a product, there are lots of things that you don’t see until you’ve got the prototype in your hands, and even though you try to convey things to the team, ultimately you’re the one who’s got it in your mind. And reaching that moment when you can see the object, when you can say “This is what I wanted,” makes you impatient.

What is happening with LEDs in the lighting sector? LEDs are changing the way we design products. It’s great time for designers, creatives and companies as well. LEDs do not get hot, so you can build your own light socket and this gives you the freedom to design new shapes and dimensions that used to be impossible. Plus, they also allow you to put the switches close to the light source because it doesn’t burn, so you can make more ergonomic lamps.

“We try to ensure that our products last over time. If you make beautiful objects which also give off good light and are not too tendentious, they can last a longer time span. I like products to last.”

Interview

Joan Gaspar

Interview

What is a well-lit city like? There is too much light in cities, especially Mediterranean cities, perhaps because light is associated with safety and so cities are lit up more than they need to be. A well-lit city should have focused light that doesn’t bother you when you walk or drive. You have to have just the right amount of light. Trying to re-create daylight at night is ridiculous. The night should be the night, and so you choose little points of light to create certain atmospheres around you. Some houses are more brightly lit at night then during the day. Does every moment have the ideal kind of light? Yes, when it comes to artificial light, there should be a perfect light for every moment. When you read, you need a reading light; when you have dinner at the table, you should have a light that only lights up the table. At home, light should decorate, and you can discriminate between different lights to create different atmospheres, trying to avoid top-down lighting whenever possible. Regardless of whether you like a lamp more or less, one thing is the kind of light it provides and another thing is the physical product itself. What is your creative process when you design a lamp? That depends. I might reach the final idea in many different ways. Sometimes it occurs to me at the beginning of product development based on a material or mechanism that interests me. It might also occur to me depending on the kind of light I want to create; this gives you clues as to what the object will be like, what materials I can or cannot use. Light determines a lot —it limits you or opens up many doors in the creative process.

“A perfect lamp might be a lamp that is formally beautiful and lights well, that is not bothersome when it is on. I like lamp light not to be invasive, not to light everywhere, and I like it when the light that the lamp itself receives lets you see interesting things about the product itself and its construction.”

Joan Gaspar

Interview

Joan Gaspar

“There i s always someone behind the scenes deciding, choosing a nd thinking about wha t is best for J.G. this ob ject.”

Interview

Joan Gaspar

Interview

Xavier Mañosa “A beautiful light needs many factors to come together.”

Xavier Mañosa was trained as an industrial designer, although life led him to grow up amidst the wheels and kilns of his family’s ceramics studio. After a stint working in Berlin, once back in Barcelona he decided to merge the artisan trade of pottery with design, and in 2009 he created the brand Apparatu along with his parents. Back then, he was motivated by investigating materials and manufacturing processes themselves; he shapes each of his pieces individually, allowing for slight variations, for the poetics of the unexpected. He is a member of the latest wave of creators who merge designing and doing. His relationship with Marset has yielded collections of lamps with clays and enamels that interpret new light effects. Xavier Mañosa is one of the top exponents of contemporary ceramics. His work has been displayed in design fairs and exhibitions in London, Frankfurt, Tokyo, New York, Mexico City and Stockholm.

Reflection 4

Interview

Xavier Mañosa

What do you like about your job? What I like the best is the immediacy. The material, ceramic, is very ductile. You carry the entire process inside yourself: design, production, etc. You have a piece of clay, you put your finger in it and begin. In one day, after a while, you can finish an object. I also like the magic of the kiln when you put the piece in it. You have glazed it and you guess at what it will become. The processis complex and each lamp is handcrafted, so tiny variations may appear that had never existed before. Is each piece a surprise? No! Each piece has its moment of surprise. There is a point at which you control the production process and you know how it will turn out. But in our lamps the process is complex, handcrafted and some tiny variations may appear in the finishes that had never existed before. What is ceramics to you? I’ve done ceramics my entire life. It is close to me in this sense; my parents are potters. It’s very familiar to me, very normal, like something you carry inside yourself and it has always been there. To me it doesn’t have a specific definition. Can you do whatever you want with ceramics or are there limits? Yes, you can, but for it to make sense is another thing. Within the discourse of the crafts, you start working with a material, start investigating it, discover everything there is behind it. And most importantly you begin to understand the processes. Realizing everything you can learn from ceramics gives me a sense of the infinite, a bit of vertigo. But at the end you have to just be there and keep going. But ceramics is also a “very unappreciative” material. You have many more mistakes than successes. And at the same time, these mistakes help you to get it right. It often happens that when you open the door to the kiln what you find is not what you wanted; it has become something else.

“In ceramics, the object should have as little of you as possible. The less you are there at the moment of making it, the more the object is you.” You make lots of tests with ceramics. This has a wonderful consequence. When you do experiments you end up generating such a large volume of pieces that you learn to throw them away. In the end I know which one is good, which is perfect and which I have to save. Even though it may seem fantastical to you, to me it may be a mistake. The day we clean the studio we usually throw out tons of pieces. I like the idea of learning how to get rid of what you don’t need. It ends up helping you in other aspects of your life.

Interview

Xavier Mañosa

“That tiny detail that you had n othing to do with a nd that is totally fort uitous, that is one of the most X.M. beautiful things.”

Interview

So mistakes add something to ceramics. More than mistakes it is the unexpected, the involuntary, what you didn’t plan on. And in the end this is what ends up making the object attractive and more sensual. That tiny detail that you had nothing to do with and that is totally fortuitous, that is one of the most beautiful things. The Pleat Box lamp has a lot of this. It is a piece that made itself. Of course we were behind it, but the shape made itself. And as successful as it has been, it’s as it had appeared by a magic wand. What of you do your objects embody? The best thing that can happen to an object is that it has as little of you as possible. The less you are there at the moment of making it, the more the object is you. I mean that when you are working, either shaping or cleaning up or glazing, you have to touch it without touching it. You have to have a kind of manual dexterity. This also happens when I design: I try to touch little, to let things happen without intervening too much. Where do you get ideas from? As an artisan, when you attach a great deal of importance to the material and the process, you already have two very serious conditioning factors. You open up a pathway. In good ideas the goal is to settle down and find solutions. Before that comes ingenuity: you suddenly see something, the beginning of a project. But if you don’t get down to work, ingenuity is not enough – it vanishes. What kind of light is beautiful? The kind that doesn’t bother you, and that’s really complicated. When I have been in a well-lit house – and that’s happened only a handful of times – it tends to be owned by a person of a certain age with a certain sensibility. Achieving this kind of light takes time. It is an exercise in gradually filling the house with the lamps and objects you find throughout your entire life. And it’s not just

the objects themselves that can help you but also how you work with them, how and where you place them. A beautiful light needs many factors to come together. What is your relationship with Marset? What do you give each other? I began five years ago. It is a family-owned company, and so are we. At Marset they are very familiar with industrial processes, while we are more oriented toward a human factor that is difficult to control. They have patience with what it means to handcraft objects. They have managed to absorb it, understand it and convey it to the general public. Distributing and explaining it is complex, and they have successfully managed to do it. So what have you brought them? I imagine that I have helped them to explain the origins and the added value of these pieces. With a handcrafted object, if you are told about the details it helps you to imagine how it was made and it brings you closer to the person behind it. As a user you feel closer.

Xavier Mañosa

Interview

Xavier MaĂąosa

Interview

Xavier Mañosa

What is the light of the lamps you have designed for Marset like? Ceramic, which is a material I talk about a lot, brings a kind of warmth that is difficult to find in other materials. The white Pleat Box is warm itself, but if you apply gold it makes even more of an impression in the space and generates a series of streaks. It manages to alter the atmosphere of the space through the reflection of light on the material.

of all these manual processes might remain, which remind you what happened at what point in the process.

“Ceramic, which is a material I talk about a lot, brings a kind of warmth that is difficult to find in other materials.” Is the use of gold a luxury? You cannot try to apply gold to an object and expect this object not to have certain connotations. The brain immediately relates gold with a luxury object. Then comes the price of gold. We use 18 carats with a sable fur brush – the animal with the finest fur around – because any other brush would leave marks. The gold has been atomised into a very fine powder which turns into paint when mixed with solvents. Then it is applied brushstroke by brushstroke on white enamel. It makes the piece’s end price more expensive, but it confers a warmth which you would never get without gold. They say that the lamps you make are like jewels... In the sense that the process is very special. Explaining it would take up an entire page. If I summarise, I would say that a piece that goes through the kiln four times, and in the interim it undergoes hand-polishing processes which last around 20 minutes. Given that the same lamp has different glazes, you have to protect one side while you do the other. There are sprayed finishes and other extremely laborious finishes applied with paintbrushes; they go through several hands… And at the end, marks

Do all objects have a history? I like to explain a bit of what lies behind craftsmanship, the relationship that is generated between user and object. This idea that the handcrafted object is humanised, that the user understands how this piece was made, where it comes from. What is Marset? Well, a lot of Marset is… It’s pure joy! It’s taking risks and being bold. They are very daring.

Interview

Xavier MaĂąosa

Interview

Xavier MaĂąosa

Interview

Reflection 5

Maria Reig â&#x20AC;&#x153;Shadows are what confer color, atmosphere and warmth in a space.â&#x20AC;?

The sensitivity towards lighting grows as you observe it. This is what happened to Maria Reig, who for years has been fascinated with the effects of light found in natural settings, and with how to illuminate the spaces we inhabit. With a degree in law and the fine arts from the University of Barcelona, she is the heir to a large family inheritance which she manages through Reig Capital Group. This businesswoman and politician from Andorra has also participated very actively in the cultural and business life of Barcelona in the past decade. Lighting takes a prime place in both her private residences and in her hotel properties. Her reflection on the nuances of light and shade offers a perspective beyond strictly design.

Interview

Maria Reig

What is light? There is not just a single kind of light. There are as many kinds as the ability to cast shadows. Shadows are what confer colour, atmosphere and warmth in a space. With lamps, I often notice that I never quite find the one that can create the atmosphere I want. I want a lamp to have so many features, not just to be a source of light, but also to regulate intensity, use light bulbs with different tones… I think that there is one aspect that we often forget: the ability to cast shadows around us. There is no relief without shadows. Should artificial light imitate natural light? No, and most importantly because it can’t. Natural light changes every minute. It depends on the colour of the nature around it; it is different in the desert than in the forests of northern Europe. In the forest it is more metallic than the southern light, which is more yellowish. What I think is that artificial light should be able to adapt to any atmosphere you want to create. There is a plethora of lamps on the market, thousands of them, but to me they all have one flaw: they focus on giving off light instead of the ability to create moods and cast shadows, not only one but several layers of shadows.

“There is not just a single kind of light. There are as many kinds as the ability to cast shadows...” Does the perfect lamp exist? I think it does. It would have to create a scene that is a mixture of a hotel lobby and a velvety “velouté” atmosphere with the capacity for seduction. Lamps cannot be static; they have to be dynamic; they have to capture the colours around them and project them. Thus the importance of the place where you put the lamp and how you accentuate that colour that you want to highlight.

If I had to commission the perfect lamp it would not be about light, it would be about casting shadows. If I could find a lamp that used a dimmer to amp up or dim the shadows, it would be the perfect lamp. These shadows would not have to re-create nature; they would have to re-create angles of light or layers of shadows. It could totally be done. How do you light up your house? What factors do you bear in mind? To me it’s like creating a painting. To light up a room, I think about where I would put the brushstrokes of light. I might decide to light up a bit of curtain in order to spotlight the colour I like. I keep changing it throughout the year, in the different seasons, moving the light a bit closer to or further from objects and fabrics.

Interview

Maria Reig

Interview

Tell us about the dilemma between form and function... Today there are two obsessions. The light source should be as white and powerful as possible to cast light. People want light, light, light. There is too much light everywhere. Light is confused with comfort and ends up being invasive. If you are incapable of controlling the light source with filters or projections of shadows, it becomes unbearable. I always say that there are houses which look like airport lobbies. Houses have to be more intimate. The points of light have to be in the place they are needed. If you are going to sew or read, then you need the point of light where you are doing the activity, not everywhere. The second obsession is with design. Today you can do anything with LEDs, which are tiny, or with the sheer number of light bulbs available. LEDs have brought a new dimension to lighting. It is a cool source of light that can get very close to the person without bothering them. They don’t heat up the air around them. They say that design should be functional and that the object should be beautiful. But what I ask of a lamp is primarily that it not invade either you or your environs. Which designers do you like? Those who think about comfort and values related to harmony, proportion and respect for the human being. In this sense, I identify with both the Japanese and the Scandinavian countries, whose cultures live very close to nature. You talk about lamps that are left on during the day. I like them a lot. Now that LEDs hardly consume anything, it’s even better. It’s like the Nordic peoples usually do with firelight and candlelight: they are always present. We light candles at night, and they do so at 9 in the morning or noon. They eat with candles, and it’s not that they don’t have enough light; rather it’s the culture of fire and the wisdom of how to make a place

cosy or create an atmosphere around fire. When someone says, “there’s an ugly lamp on the nightstand, so I cover it with a handkerchief so I don’t have to look at it”, this handkerchief becomes a kind of language you use through that light, and it is projected into the atmosphere you want to create. Light is a language that explains your culture and your sensibility. You don’t adapt to the light, the light adapts to you. When I go to look for a lamp I don’t pay attention to whether it is for an office or a table top. I choose one because it casts my shadows in just the right way. I really like lamps that swing on arms. And I like them with opaque shades that funnel the light upward and downward. Just like when you build a house you tell an architect how you want to live, it would be great if you could tell a light manufacturer what you want the light to be like. If I could manufacture my own lamps, it would be easy with Marset. What role does light play when you decorate your spaces? When the decoration in your house is beautiful to look at or take a photo of but you don’t feel good there, you wouldn’t stay there. With good decoration, you feel like taking refuge there, making it your place and living there; it’s like a nest. And light really helps in this. Points of light should illuminate to accentuate what you want to highlight; they create a language for the person looking. You illuminate the points where you want to show what you’re interested in displaying. Light is a language which reveals your culture and your sensibility.

Maria Reig

Interview

Maria Reig

If I were a Superwoman and could give out the Lamp Prizes, I would get rid of all who put the emphasis on design, creating a homage to themselves, those who walk around arrogantly “I’m a lamp designer”. Why do we put up with lamps that illuminate in a way that prevents us from living well and feeling good? You have to be daring with light and buy a lamp that works well with what you want to do, and not buy a design that bothers you, your house and your ambiance.

full of trees is gorgeous. So what makes harmony? The repetition of colours or sunrays or trunks, or the light that falls in the forest. Nature is very important to me, and so are forests. I call them sanctuaries. These sanctuaries can be very small or very large, but they are strong. I adore that superimposition of shadows, colours, textures and reliefs in nature. I think that it is extremely difficult to recreate that in interior décor. That’s why I go outside to find it.

What is your relationship with Marset? How did it become part of your life? Through design. I noticed some lamps that I really liked and they were from Marset. What I like about Marset is its focus on a kind of design that does not follow well-worn patterns; it develops a culture of its own, part of it is local and part is international. You can also clearly see that there is someone behind Marset, that it is a small-tomedium-sized company made up of people who like to listen, improve, surprise. I identify Marset with a modern Mediterranean culture. What is your relationship with the objects around you? I’m not much of a collector of things that complicate life. For example, when I buy a work of art, I know that I’m going to have to like it my entire life. I’ve owned ninety percent of my things for many years and I still love them. Objects are like an elderly person or a home; the more years go by the more beautiful they become. They keep evolving. To me objects, just like light, are a language that show what you are like, but they show it subtly. What is beauty? I would talk more about harmony. Beauty without harmony, without proportion, does not exist. Proportion can be disproportionate, it can be enormous, but harmony is what confers beauty. For example, the Grand Canyon in Colorado. It’s huge, red, striped! Amazing! A forest

“The concept of luxury is related to the choice of materials, textures and quality, which becomes harmonious when they are mixed.”

Interview

Maria Reig

“Beauty without harmony , without proporti on, does M.R. not ex ist.”

Interview

Perhaps I prefer the language of authentic materials more than new materials, even though I also like mixtures – LEDs with fine materials, for example.

Can light affect your mood? Bad light can. Excessive light makes me really uncomfortable, and it can even keep me from going to a restaurant with too much light. I love the light of London. To me there is too much light in Barcelona. Have you ever been in Valencia? If you drop your contact lens to the ground at three in the afternoon in Valencia, you can find it. Maybe that’s why it’s called the City of Light... In the European Union there are regulations on light in public areas, and Spain uses seven times what it should. What do you see in Tokyo? Neon, neon and more neon. I don’t like it. What I love about Tokyo is when you see a raspberry or blue light on the skyscrapers that blinks on and off in the middle of the fog. It’s like a sea with infinite raspberries – amazing! What makes a product high-quality? More than the materials, the details… the presence of a fine material as a detail. Wood is a language of quality, just like fine metals, good papers and beautiful fabrics. Today cool materials like stainless steel are overused, but if there is too much wood it’s not contemporary.

What is luxury? It is more closely related to quality than to price, to materials that last and never go out of fashion. Cashmere is cashmere 30 metres away; so is linen. You can’t quite see what plastic is 30 metres away. I like what can be recognised at a distance. Luxury in materials is what does not need to be changed because it ages with dignity. Furthermore, materials get better and more beautiful over the years. For example, cement and iron age well, but stainless steel doesn’t – it stains. Sometimes you can have luxury without too much money. It is related to the choice of materials, textures and quality, which become harmonious when they are mixed. To me, that’s luxury. For example, sisal can be a great luxury material. You see an old English mansion and it doesn’t have wool or silk carpets but old sisal ones. The Chinese have silk carpets, perhaps a bit faded, but that’s what I like: seeing things that are used, that have been around for years and that have aged well.

Maria Reig

Interview

Maria Reig

Interview

Reflection 6

Christophe Mathieu “... it should seduce you even before you turn it on.”

His name is French and he was born in Germany (1961), but his Spanish accent points to the Canary Islands, where he grew up. He reached Barcelona in the mid-1980’s to finish his degree in interior design. Soon afterward he headed to Milan, where he discovered industrial design. A restless man, he seems to carry those traveling genes of his Belgian ancestors who ventured to move to Spain in the 1960’s. With an architect and handyman father (he made lamps at home using the origami he learned while working in Germany), 30 years ago Christophe Mathieu transitioned from being a professional competitive swimmer to the world of design. He is open to unforeseen events in life and does not discount the possibility of one day maybe leaving it all and doing something totally different. Having lived in Barcelona for years now, he is one of Marset’s veteran designers and has created several successful products for the company. However, nothing quite beats his Discocó, the firm’s current bestseller. That expansion of energy conveyed by the lamp suddenly makes more sense when you listen to Mathieu.

Interview

What do you ask of a lamp? The first thing is that it should give off good light, always depending on the kind of lamp it is, its purpose, where it will be placed and the ways it might be used. In addition to being a device that helps us to see, it is an object with size, volume and proportions. I ask that a lamp be attractive when it is both on and off; it should seduce you even before you turn it on.

Does the perfect lamp exist? It probably doesn’t because every user is different. What is perfect for you may not be perfect for your neighbour or even your partner. Perhaps to me, the perfect light is the right light for what it was designed for; it is comforting and beautiful as an object; it aesthetically represents the era when it was designed but has features that will allow it to last over time; it is made of good materials and is technically resolved in a skilful way; and its price does not exceed its value. I know I ask a lot!. And then you have the lamp as totem: that piece with a noticeable presence that arouses interest and fills the space. This kind of lamp usually offers ambient lighting; it is secondary. And again you have the lamp that does not stand out aesthetically but makes life more comfortable when you turn it on. Every object has the purpose for which it was designed.

You talk about each object’s purpose. The issue of the purpose of objects is a discourse that has changed over time. In the 1980s, it was a topic that spilled plenty of ink and inspired lots of debates. If a chair wasn’t comfortable then it was a useless chair. I think that now objects are a bit more complex; it depends on the purposes for which they are designed and the way you want to use the object or lamp. What materials do you like working with? I like all materials if they are used properly, but I dislike them when they are used poorly. Materials are not to blame for whether they are used well or badly! In certain eras, certain materials are overused and both the public and designers get saturated. This happened in the 1990s with aluminium, and now it’s true to brass and copper. How do you know if a material is right? Trial and error is very important in design, so that’s why I make a lot of models and prototypes. I rarely start with a material at the beginning of a project, but instead I start with the kind of light I want and I look for elements to make it: “ideal” materials, possible execution systems, finishes, colours, retail price, whether it will be manufactured on a large scale or handcrafted. I initially envisioned the Discocó lamp with metal disks and they ended up being injected plastic. All the factors add up. What phases in the design process do you emphasise? Actually, I spend quite a bit of time thinking. Having a good idea is what really counts. It seems obvious, but it’s true. So how do you get good ideas? They pop up at a specific moment, even if they don’t happen suddenly. Sometimes I get a flash of inspiration, a picture of what I want an object to convey to others, but it is the outcome of certain circumstances, of the day-to-day

Christophe Mathieu

Interview

Christophe Mathieu

Interview

Christophe Mathieu

accumulation, of continuous effort. Then I try to visualise the object in my mind as clearly as possible and I draw it on a piece of paper or directly render it as a model, which helps me to see the proportions and volume in space. Then comes the emotional part. It is very important for this idea to spark an emotion in me, for it to enthuse me. It is almost a practical issue because it spurs me to continue. I rarely work on commission, so I design or make projects every day, just like someone else might write or paint. Why do you prefer the word “proyectar” (the verb of proyecto or project, plan) to “diseñar” (design)? I associate “diseñar” more with drawing and “proyectar” more with planning how to bring a project to fruition. You make a project in the future: you make something where there is nothing. And I am interested in the verb “proyectar” in relation to light, such as a slide projector, that is, using light to project an object onto a surface. Plus, I really like the connotation of projecting light over a long distance.

What would you like to design that you haven’t yet? Actually, I’m always designing. As I walk down the street, I see that a store is being remodelled and when they open it I like to think about how I would have designed the interior. I go to someone’s house for the first time and I mentally design the space. Or at the beach in Tenerife where we go for vacation, there are some areas with no sand but only rocks that stretch into the sea… I start thinking and plan how I would design the access to the sea. I like to think about how to improve things; I have a blast doing it. You say that you like to think about why a lamp fails… It is really interesting to analyse why a lamp works and is popular, but the opposite, too. Sometimes people tell me, “Man, stop thinking about what went wrong with that lamp”. But I don’t do it out of masochism. I like to identify the reasons, the mistakes and the elements that could have been improved, so I learn from it. I compare it with the boxes that used to be at fairs in the Canary Islands when I was a child. They had strings which were all the same length. You had to pull on them and guess which string would win you the prize. It is also interesting to analyse why one of your lamps is successful, why people like it, what elements and variations make a good lamp. It’s like the structure that every good story should have: a beginning, climax and denouement. I think that there are many parallels between designing an object, writing a novel, composing a song, making a film or even cooking a delicious dish. It matters less to other designers, who say, “What do I care – all that matters is that I like it”. Not me.

Interview

Christophe Mathieu

“Light is a language. The lamp beco mes an object that speaks and sparks a series of sen sations inside you which tr anslate into C.M. greater or less er comfort.”

Interview

bulb or the brightness of the light. Plus, since LEDs last 30 years, you can better control the end user’s experience with the object you’ve designed.

You like people to like your designs. Who doesn’t? I want them to like the things I design. I love it – and it’s happened to me sometimes – when suddenly I got to someone’s house who has a lamp of mine, who bought it and didn’t know it was mine. Of all the lamps they found in the shop, that person chose mine. I’m not too in favour of designers becoming celebrities and selling products because of this celebrity. It’s not that I’m against it, because it happens and if it helps to sell a product, why not? But I feel more comfortable when the object I design is in the foreground. What would you highlight about LED lighting? Well, something very simple that happened to me. You cannot forget that a lamp is an object that give off light. With LEDs, now lamps come with their own light incorporated, and so as a design you’re much better able to control the kind of light you want the lamp to give off. Before, you would suggest a kind of incandescent or halogen bulb, and people would go to the shop around the corner or to the hardware store and buy whatever they recommended without thinking about the right temperature of light for that lamp, or the quality of the

You used to make your own toys when you were a child. Was this the seed of your profession? I have always been a very handy person, very hands-on. So I built myself a slingshot to improve my marksmanship and make it go further. At first I wanted to be an architect, like my father, and as a boy I would go with him to the construction sites and draw houses when I got back home. I remember that when I was 11 I built a twostorey wooden house on a plot of land next to my house, so deep down I already liked architecture and building things. Another career choice was Fine Arts. In the end, I decided to study industrial design because what I’m really interested in is applied art: I want there to be a briefing, I want the object to be limited by practical utility. What is light? It is a very powerful tool. Just ask architects, interior designers, film directors or photographers. Light is what allows everything around us to be visible; it allows us to perceive our environment in a given way, move around space, appreciate colours, shapes and volumes, do activities, make a space look larger or smaller, make it comfortable or even disgusting, and all of this means that it influences our mood and quality of life. Light is also a language. The lamp becomes an object that speaks and sparks a series of sensations inside you which translate into greater or lesser comfort.

Christophe Mathieu

Interview

Christophe Mathieu

Do you have a favourite kind of light? I really like to play with indirect light which bumps up against the elements around it, and not only within an architectural space. In this sense, a lamp is actually a miniature form of architecture, like the Discocó or the Maranga. Thanks to these elements that screen light, you play with the result and manipulate light. A lamp not only gives off light but it also receives exterior light. Designing a light is extraordinarily complex, which also attracts me. It would be great if children had a class on light at school! Tell us about a memory associated with light. I went on a trip to Senegal with a friend and the first thing that impressed me was the Dakar airport, which was totally dark. Here, we are invaded with artificial light all around us. In villages, we would go out for a walk at night and couldn’t see a thing. You could only hear a bunch of voices. The houses where we slept had a little light bulb hanging in the centre of the room – a transparent Edison with a really low wattage – which gave off a warm light. It sort of gave me a sense of insecurity, yet it also felt comfortable. I live in Barcelona and there is never total darkness at night. I got out on the terrace and see lots of lights. In contrast, I like to go camping in a tent in the mountains and experience the darkness of night only punctuated by the light of the stars. Darkness conveys silence and relaxation. Sometimes we need a break from light. You were raised in the Canary Islands. What is the light like there? Since we’re near the tropics the light is more vertical. Especially in the summer it is more direct and the light and shadows get harsher. When I was a child, we used to live a five-minute walk away from a lookout point where the entire Atlantic Ocean was spread out before us. The sunrises and sunsets were spectacular with the changes in the tones of the light, cooler or warmer, until

the sun disappeared. I still like going to the beach in the evening because of the quality of the light. What is the best piece of advice you have ever been given? I was in Milan looking for a job and I went to Enzo Mari’s studio. He welcomed me mistakenly. I was going to show him my book and he told me he wasn’t interested, but he also said: “Do you want me to give you a tip? If you have money, spend it on travel and or stay in the Canary Islands basking in the sun, because here there are more designers than policemen.” Actually, the best advice I’ve ever gotten was something else. Work at any job, but make sure you love it. Be honest with the objects you make. If you want to accomplish something and you’re not there yet, get training and study in order to accomplish it. These are the tips I would give today. And also: look closely at the first projects you do because they really leave their mark.

“Work at any job, but make sure you love it. Be honest with the objects you make.”

Shooting de Inma en Campo Viejo, localidad costera de Almeria.

Interview

Christophe Mathieu

Interview

Mathias Hahn “Light is the brushstroke that paints everything in the world.”

Mathias Hahn was born in Osnabrück, in northern Germany, and currently lives in London. He has been working with Marset since 2010. Germany, London, Spain: three different places, three very different kinds of light. After graduating as an industrial designer at Essen University in Germany and later at the Royal College of Arts in London, he founded his design studio in the capital of Great Britain in 2006 and is also co-founder of the OKAYstudio collective. His work focuses on utility and the way typologies can adapt to our everyday lives in order to form meaningful objects. The approach of his work is driven by the understanding of materials and the observation of the cultural backdrop that relates to the products that surround us. Since he received the 2010 German Design Award as Newcomer/Finalist, his work has repeatedly gained international recognition.

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What is your favorite natural light? When the sun is very low in the sky in the evening is when the color contrasts are the greatest. And the colors, in turn, keep shifting with the shadows. I like the experience of light when I am travelling by train, and I keep collecting colors in my head. With the speed, all you see is bands of color, all created by the light of that very moment. What led you to become a designer? I began painting with my grandmother at a very young age. She was a painter and taught me the different techniques. So I wanted to become a painter or illustrator initially. At the same time I was always keen on making things. When something broke at home, my family would give it to me to fix. When I decided to join university, my first idea was to do graphic design, however ultimately I chose product design, where I could work directly with materials, with physical things. The time in the workshop has always given me a great deal of satisfaction in my studio work, and there is something about this direct and technical aspect that really fascinates me. As a designer I still work with a pencil and a paintbrush as well as in my workshop. In a way it was an evolution. How does the design process get underway? Usually starting points vary a lot. The initial phase can be more experimental, more reflective or more observation-based. Visiting a factory for example. Understanding a manufacturing process, reflecting on how it could be used or changed. Or questioning an existing typology by learning how it came into place. Precisely the fact that the point of departure is always different is what makes this job so thrilling.

What does it mean to include light in an object? Working with light means adding another layer to an object, which makes it more complex. From its passive state to the time when the light is turned on, a lamp becomes another thing altogether and the object itself ceases to be important. Light determines the way we perceive things. And in turn, when you try to capture light, color, shadows and contrast, you see that objects are different in every moment. What lights inspire your lamps? Observing natural light might trigger an idea but that’s as far as it goes. If we are talking about literally re-creating a phenomenon of natural light with a product, this is nothing I am interested in. Natural light is best enjoyed naturally. We need artificial light when we don’t have natural light available, and it will always stay artificial. Understanding man-made light in cultural terms is what excites me. Like music from an instrument compared to a birds voice.

“If we are talking about literally re-creating a phenomenon of natural light with a product, this is nothing I am interested in.”

Mathias Hahn

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Mathias Hahn

“I am par ticularly intereste d in light as shado w and in the gra dient of M.H. shadows itself.”

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What do you want to spark in the viewer? We all have a favorite cup or glass that we always end up grabbing without thinking about it. This is an intuitive use of objects because they bring us satisfaction. If things are not relevant to us, we don’t spend time with them. The incredible thing is when people can create their own history with something you have designed, and it works. When I work on a project, I think about this potential. In each new design I make a clearly defined proposal, a statement, which might at first lead the viewer to be interested in or attracted to it. But later there is a second stage, which is after you use it over time. And you realize that there is more to it, that it might even be better than you thought. Observation and design go hand in hand. I am a keen observer in general: of nature, of objects, of people. To me design is like a language that can be read. As each of us perceives things and objects according to their own personal and cultural background, I am very interested in the context and how things correlate. In this sense, the same holds true with the concept of beauty. If you surprise people with a formal design, it’s because of the context, regardless of whether or not it is shared. What would you like the users of your lamps to perceive? If we ask ourselves why we need a new lamp design, to me it’s the same as asking why read a new book, or why see a new film. The design of an object is about more than its function or formal appearance. It is important that things function well but after having used them for some time, the interesting question is how do they fit into our individual lives. If they offer room for interpretation and we actually allow them to be part of our own routines they become valuable.

The past decade has witnessed major changes in artificial lighting. Do you have favorite light sources? The most important thing to me is having this evolution in mind. I am not in favor of or against the old or the new. The incredible thing is that we have so many possibilities today. And this gives us a great deal of freedom to experiment. We are still in the midst of the process of evolution. I am excited to see what’s to come. Might the future of artificial light make lamps almost invisible? I think that we will always need that materiality. At least in some places, we need the context. Technology may be very sophisticated, but we still like to touch a wooden table or wear leather shoes.

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What lamp that you haven’t made would you like to design? I’m working on it. And the good thing is that there is still so much left to explore. I am particularly interested in light as shadow and the gradation of shadows themselves. What are your design referents? I appreciate the work of past designers, although I don’t profess any “religion” and I don’t follow any manifesto. My interest lies in understanding things and grasping their evolution. I am extremely curious about how things work themselves, as well as in their context. For example, if we talk about light, I am interested in asking why we are so fascinated with the incandescent bulb. It is a functional object, yet it has also become an icon and an international system. We also appreciate how easy it is to change… There are lots of aspects about it. But you use LED technology in your new projects. Today LED has evolved a great deal and comes in several different formats. If I use it, it’s because it allows me to do what I want to do. I believe in evolution. But for the same reason that we still use candles, we could also use incandescent bulbs. Finally, could you give us a definition of light? You could say that light is the brushstroke that paints everything in the world. Light is life. It is one of the essential things that exist. In today’s world, we all need light. And we are fascinated by it, by its relationship with the visual, with what we can see.

“The design of an object is about more than its function or formal appearance. How do they fit into our individual lives? If they offer room for interpretation and we actually allow them to be part of our own routines they become valuable.”

Mathias Hahn

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Credits

‘Reflections on light’ is an initiative made for Marset conceptualized and designed by Folch. Filmed by Goroka.

Concept, graphic design, art direction & creative direction in production Folch

Published by ACTAR Publishers New York www.actar-d.com & The Flames by Folch Barcelona www.folchstudio.com

Coordination Isabel Valle Photography Leo García Tina Hillier Illustration Pol Montserrat Film Goroka Printing Ingoprint

Distributed by Actar D New York – Barcelona www.actar-d.com

Printed and bound in Barcelona December 2015

151 Grand Street, 5th floor New York, NY 10013, USA T +1 212 966 2207 F +1 212 966 2214 brian.brash@actar-d.com Roca i Batlle 2 E-08023 Barcelona T +34 93 328 21 83 eurosales@actar-d.com All rights reserved; no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written consensus of the publisher. ISBN Actar Publishers 978-1-940291-82-6 ISBN FolchStudio 978-84-944216-9-3

Watch the films at reflectionsonlight.marset.com

katalog catalogue 16/17