Marset catalogue 16 17 usa by MUSEO

katalog catalogue 16/17

catalogue 16/17

Index

A 218 74

Atlas Atlas Susp.

C 238 88 196

Cala IP65 Cala P Continua

D 18 164 204

Discocó Discocó A Discocó C

F 118 94 158 128

FollowMe Funiculí Funiculí A Funiculí S

G 10 152 114 78

Ginger Ginger A Ginger M, S Ginger P, XL42, XXL60

H 46

www.marset.com Marset USA Inc. 20 West 22nd Street – Suite 903 New York, NY 10010 T +1 646 727 4250 F +1 646 304 6959 marsetusa@marset.com

Factory & Headquarters Alfonso XII 429-431 08918 Badalona (Spain) T +34 934 602 067 F +34 934 601 089 info@marset.com

Barcelona Showroom Santaló 56 Interior 08021 Barcelona (Spain) T +34 932 005 726 press@marset.com

Hazy Day

L 254 132 178 168 172

Lab La Discrète Ledcompass, RSC Ledtube Ledtube R

M 200 50 206 110 144 146 192 208 58

Manhattan T5 Maranga Maranga C Maranga P170 Maranga S Mercer, M, Mini Mercer A Mercer C Mercer Susp

N 62

Nenúfar

P 214 26 136 180 100

Plaff-on! Pleat Box Polo Polo A Polo floor

S 222 156 104 140 194 38 184 210 52 212 232

Santorini Scantling A Scantling P Scantling S Scene Scotch Club Scotch Club A30, A40 Scotch Club C Soho Soho C Soho IP44

T 12 188 84 246

Tam Tam, Mini, 4, 6 Tam Tam A Tam Tam P TXL

8 — 75

74 Atlas

18 Discocó

8 Ginger

78 — 111

88 Cala

94 Funiculí

78 Ginger

114 — 149

118 FollowMe

126 Funiculí

114 Ginger

132 La Discrète

152 — 201

196 Continua

164 Discocó

158 Funiculí

204 — 219

218 Atlas

204 Discocó

206 Maranga

Pendant

Floor

Table

Wall

Ceiling

222 — 259

Outdoor

238 Cala

254 Lab

46 Hazy Day

50 Maranga

58 Mercer

62 Nenúfar

26 Pleat Box

38 Scotch Club

110 Maranga

100 Polo

104 Scantling

84 Tam Tam

144 Maranga

146 Mercer

136 Polo

152 Ginger

178 Ledcompass

166 Ledtube

172 Ledtube R

208 Mercer

214 Plaff-on!

210 Scotch Club

212 Soho

78 Ginger

222 Santorini

232 Soho

246 TXL

52 Soho

12 Tam Tam

140 Scantling

200 Manhattan T5

192 Mercer

180 Polo

156 Scantling

194 Scene

184 Scotch Club

188 Tam Tam

Pendant

Ginger â&#x20AC;&#x201D; Joan Gaspar, 2014

Pressed wood diffuser of 0.16 inches in natural oak or wenge. Injected and lacquered black matte aluminum dissipater.

Oak

Ginger 32

Wenge

120 V - 60 Hz LED SMD 7,8W 700mA 2700K 1066lm (included) Ginger 42 120 V - 60 Hz LED SMD 15,4W 700mA 2700K 2130lm (included) Ginger 60 120 V - 60 Hz LED SMD 20,8W 700mA 2700K 3023lm (included)

Ginger 42

1.87”

ø5.12”

6.56ft

3.39”

6.56ft

2.36”

Ginger 60

ø5.12”

1.87”

ø5.12”

6.56ft

1.87”

Ginger 32

4.65”

ø12.6” ø16.54” ø23.62”

Black electrical cord

Dimmable

Range

Dry locations only

p.78

Pendant

p.114

p.152

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 aluminum, 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 Tam Tam now comes in a new linear version that retains its fun, dynamic roots. These 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. Consumers can mix and match the color and number of lampshades to suit the aesthetic of each atmosphere, each interior and every need. These new members of the Tam Tam family fit more multipurpose spaces, either long or narrow, lighting bars or dining tables.

Pendant

Tam Tam — Fabien Dumas, 2011

A large central shade in lacquered aluminum, 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

Tam Tam Mini

Black (Ral 9011)

5x E12 CFL TYPE T 13W

Off-white (Ral 1013)

5x E12 TYPE G 40W 5x E12 LED TYPE G16.5 5W

Satellite Shades Black (Ral 9011)

Tam Tam 3

Off-white (Ral 1013)

9x E26 CFL TYPE T 18W

Orange (Ral 2000)

9x E26 TYPE A 60W

Brown grey (Ral 7013)

9x E26 LED TYPE A 11W

Green (Ral 6025) Sand (Ral 7032)

Tam Tam 5

Blue (Ral 5024)

13x E26 CFL TYPE T 18W 13x E26 TYPE A 60W 13x E26 LEDTYPE A 11W

ø4.3”

Tam Tam 5 ø4.3”

25.9”

ø 13

.7 ”

ø19.7”

ø 13

13.6”

11.5ft

11.5ft 13.6”

8ft 10.2”

.6 ”

ø13.7”

ø8

1.4”

Tam Tam 3

1.4”

ø4.3”

1.4”

Tam Tam Mini

40.1”

22.6”

33.5” 41.1”

Black electrical cord Range

Dry locations only

p.84

Pendant

p.188

Tam Tam — Fabien Dumas, 2011

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

Tam Tam 4

Stem

120 V - 60 Hz

Black (Ral 9011)

4x E12 CFL TYPE T 13W 4x E12 TYPE G 40W

Shades

4x E12 LED TYPE G16.5 5W

Black (Ral 9011) Off-white (Ral 1013) Orange (Ral 2000)

Tam Tam 6

Brown grey (Ral 7013)

120 V - 60 Hz

Green (Ral 6025)

6x E12 CFL TYPE T 13W

Sand (Ral 7032)

6x E12 TYPE G 40W

Blue (Ral 5024)

6x E12 LED TYPE G16.5 5W

Max 6.56ft

ø3.15”

85.43‘‘

18.11”

ø8 .6 6”

ø8 .66 ”

57.09”

18.11”

0.71”

Tam Tam 6 ø3.15”

0.71”

Tam Tam 4

Black electrical cord Range

Dry locations only

p.84

Pendant

p.188

Tam Tam — Fabien Dumas, 2015

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 its 35 opaque disks, provide the lamp with a nuanced, appealing gradation of light and depth. Further reflections dance off the chromecovered sphere at the core, where the disks 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.

Pendant

Discocó — Christophe Mathieu, 2008

35 opaque disks made in moulded ABS. Chrome sphere.

White (Ral 9003)

Discocó 35

Discocó 68

Matte grey (Ral 7037)

120 V - 60 Hz

120 V - 60 Hz 3x E26 CFL Globe 23W

E12 CFL TYPE A19 11W

Matte beige (Ral 1001)

3x E26 TYPE A19 75W

E12 TYPE G16.5 60W

Black-Gold (Ral 9004-Gold)

E12 LED TYPE G16.5 5W

3x E26 LED TYPE A 11W

Discocó 53

Discocó 88

120 V - 60 Hz

E26 CFL Globe 23W

3x E26 CFL Globe 23W

E26 TYPE A21 150W

3x E26 TYPE A19 100W

E26 LED TYPE A 11W

3x E26 LED TYPE A 11W Discocó 132 120 V - 60 Hz 6x E26 CFL Globe 23W

Discocó 35

Discocó 53 4.3”

4.3” 1.4”

ø13.86”

20.51”

16.73”

11.02”

9.84ft

6.56ft

1.4”

4.3”

6x E26 LED TYPE A 11W

Discocó 68

ø20.87” ø26.77”

Discocó 88

Discocó 132 4.3”

40.24”

26.77”

9.84ft

11.5ft

1.4”

4.3”

ø34.65” ø51.97”

Translucent electrical cord Range

Dry locations only

p.204

Pendant

p.164

Discocó — Christophe Mathieu, 2008

Pendant

Discocó — Christophe Mathieu, 2008

Pendant

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.

Pendant

Pleat Box — Xavier Mañosa & Mashallah, 2011

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

White

Pleat Box 13

White-Gold

120 V - 60 Hz

Grey-White

E26 TYPE A 60W

Grey-Gold

E26 CFL TYPE T 18W Mini

Terracotta-White

E26 LED TYPE A 11W

Terracotta-Gold Black-White

Pleat Box 24

Black-Gold

120 V - 60 Hz

Brown-White

E26 TYPE A 60W

Brown-Gold

E26 CFL TYPE T 18W Mini E26 LED TYPE A 11W Pleat Box 36 120 V - 60 Hz E12 TYPE G16.5 40W E12 CFL 13W Microtwist E12 LED TYPE G16.5 5W Pleat Box 47 120 V - 60 Hz E26 TYPE A 60W E26 CFL TYPE T 18W E26 LED TYPE A 11W

Pleat Box 24

ø5.12” 3.82”

3.82”

6.56ft

6.56ft 10.24”

6.3”

7.09” ø9.25”

ø5.12”

Pleat Box 47

ø5.12” 3.82”

ø5.12”

6.56ft

3.82”

ø5.12”

Pleat Box 36

ø14.17”

10.24”

Pleat Box 13

ø18.5”

Translucent electrical cord

Dry locations only

Pendant

Pleat Box — Xavier Mañosa & Mashallah, 2011

Pendant

Pleat Box — Xavier Mañosa & Mashallah, 2011

Pendant

Pleat Box — Xavier Mañosa & Mashallah, 2011

Pendant

Pleat Box — Xavier Mañosa & Mashallah, 2011

Pendant

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, high-quality 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 —7”, 10” and 16”— allow one to create sculptures in the air. The collection is completed with a ceiling model and two wall models.

Pendant

Scotch Club — Xavier Mañosa & Mashallah, 2013

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

Scotch Club 17

White

120 V - 60 Hz

White-Gold

2x G9 Bipin T4 60W

Blue-White Blue-Gold

Scotch Club 26

Terracotta-White

120 V - 60 Hz

Terracotta-Gold

E26 TYPE A 60W

Black-White

E26 CFL TYPE T 18W mini

Black-Gold

E26 LED TYPE A 11W Scotch Club 41 120 V - 60 Hz E26 TYPE A 60W E26 CFL TYPE T 18W E26 LED TYPE A 11W

Scotch Club 17

Scotch Club 26

2.84”

6.56ft 8.7”

ø5.47”

13.43”

5.63”

6.56ft

5.32’’

6.56ft

2.84”

5.32”

2.84”

5.32‘‘

Scotch Club 41

ø6.85” ø8.39”

ø12.99”

ø10.43”

ø16.22”

Translucent electrical cord Range

Dry locations only

p.210

Pendant

p.184

Available in white, blue, terracotta or black ceramic, with brilliant white or gold enamel interiors, the pendant collection’s three sizes allow one to create sculptures in the air. Scotch Club — Xavier Mañosa & Mashallah, 2013

Pendant

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.

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.

Translucent

Hazy Day 32 120 V - 60 Hz E26 CFL Globe 14W E26 LED Globe 7W Hazy Day 44 120 V - 60 Hz E26 CFL Globe 23W

Hazy Day 32

Hazy Day 44

5.12”

12.76”

9.21”

6.56ft

1.8”

5.12”

ø12.6”

ø17.32”

Translucent electrical cord

Dry locations only

Pendant

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. 48

Pendant

Hazy Day â&#x20AC;&#x201D; 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.

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.

Maranga 32

White (Ral 9003)

120 V - 60 Hz 2x E12 TYPE B10 40W 2x E12 CFL candle 9W 2x E12 LED candle 5W Maranga 50 120 V - 60 Hz 3x E26 TYPE A 100W 3x E26 CFL TYPE T 20W 3x E26 LED TYPE A 11W

Maranga 32

Maranga 50

4.5”

6.6ft

1.4”

ø4.3”

1.4”

ø4.3”

6.3”

ø12.5”

ø19.7”

Translucent electrical cord Range

Dry locations only

p.206

Pendant

p.144

p.110

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 44â&#x20AC;?, it has been conceived for large spaces, while the 22â&#x20AC;? model is ideal for lighting a dining table. In the translucent white version, the whole structure emits ambient light. An outdoor model is also available for illuminating porches, gardens and terraces or openair dining areas.

Pendant

Soho â&#x20AC;&#x201D; Joan Gaspar, 2010

Shade in rotary moulded polyethylene. Methacrylate opal diffuser.

Soho 57

White Stone grey

T5-C 22W+40W

Black

LED SMD 28.1W 700mA 2700K 3800lm Soho 112 8x T5 24W LED SMD 127.2W 300mA 2700K 16680lm

Soho 57

Soho 112

12”

9.8ft

6.6ft

1.4”

ø4.3” 1.4”

ø4.3”

23.9”

ø22.4”

ø44.3”

Black electrical cord

Dimmable

Range

Dry locations only

p.212

Pendant

p.232

Soho — Joan Gaspar, 2010

Pendant

Soho â&#x20AC;&#x201D; Joan Gaspar, 2010

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 pearl white version.

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

Natural cotton ribbon

Mercer 30

Pearl white

120 V - 60 Hz E26 TYPE A19 100W E26 CFL TYPE T 15W E26 LED TYPE A 11W Mercer 44 120 V - 60 Hz 2x E26 TYPE A19 100W 2x E26 CFL TYPE T 20W 2x E26 LED TYPE A 11W

Mercer 30

Mercer 44

7.79”

6.6ft

1.4”

ø4.3” 1.4”

ø4.3”

11.41”

ø11.81”

ø17.32”

Black braided cloth electrical cord Range

Dry locations only

p.208

Pendant

p.146

p.192

Mercer — Joan Gaspar & Javier M. Borrás, 2005

Pendant

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 disks attached to a central stem. Each disk 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 disks—or on its own as a surprising, well balanced and subdued centerpiece. Choose from one, two, or three white or black disks supported by a polished chrome stem. This fixture is available in pre-set configurations of 3, 5, 7, and 9 units, to ease installation.

Pendant

Nenúfar — Joan Gaspar, 2013

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

Nenúfar 1

White

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

Black

(included)

20W Canopy

LED 18W 24V 2700K* 1400lm (included)

3.94”

6.89”

3.94”

1.26”

5.31”

30W Canopy

Nenúfar 3 LED 27W 24V 2700K* 2100lm

ø7.28”

ø8.86”

60W Canopy

100W Canopy

4.57”

Nenúfar 2

(included)

1.58”

40W Hi-Lume Digital / Hi-Lume 3-Wire Canopy

100W 0-10V Canopy

7.87”

ø10.24”

9.65”

4.72”

ø12.2”

Wire entry points

Power 9.76”

8.5”

4.72”

6.65”

24.84”

9.76”

1.77” ø11.02”

8”

ø10.24”

6.65”

8.07” 6.73”

18.35”

ø6.81”

4.92”

1.57”

ø8.86”

9.84ft

8.46”

4.72”

11.65”

8.07”

9.84ft

7.87”

3.54”

ø7.28”

1.26”

ø7.28”

Nenúfar 3

1.57”

Nenúfar 2 1.26”

Nenúfar 1

20W Canopy

Nenúfar 2

18W

30W Canopy

Nenúfar 3

27W

40W/60W Canopy

3 4 5

Dimmable The Nenúfar system allows one to regulate the light (Hi-Lume 3 Wire, Hi-Lume Digital or 0-10V) at 120-277V

10.2”

100W Canopy

Black or white electrical cord, depending on the color of the model * 3000K under request

Dry locations only

Pendant

Nenúfar — Joan Gaspar, 2013

Pendant

Nenúfar — Joan Gaspar, 2013

The Nenúfar system comes in groups of 3, 5, 7 or 9 units to ease installation. Nenúfar Pre-set 3A 3x Nenúfar 3 + Canopy (100W) (driver included)

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

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

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

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

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

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

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

Nenúfar Pre-set 3A

Nenúfar Pre-set 5A

Nenúfar Pre-set 7A

Dimmable

ø25.59”

Nenúfar Pre-set 9A

ø33.46”

2.75”

ø19.29”

Nenúfar Pre-set 9B 39.37”

39.37”

2.75”

ø25.59”

31.5”

2.75”

31.5”

Nenúfar Pre-set 7B

ø19.29”

2.75”

ø15.75”

2.75”

ø15.75”

Nenúfar Pre-set 5B 25.59”

2.75”

19.68”

25.59”

2.75”

19.68”

ø33.46”

2.75”

Nenúfar Pre-set 3B

Dry locations only

Pendant

Nenúfar — Joan Gaspar, 2013

Pendant

Nenúfar — Joan Gaspar, 2013

Pendant

Nenúfar — Joan Gaspar, 2013

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.

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

Atlas Susp

Transparent

120 V - 60 Hz E26 PAR30 75W E26 LED PAR30S 13W 36º 2700K

Atlas Susp.

Base Atlas 2

4.92”

1”

4”

6.69”

9.84ft

9.84”

ø4.33”

Translucent electrical cord Range

Dry locations only

p.218

Pendant

Atlas — Joan Gaspar, 2000

Floor

Ginger â&#x20AC;&#x201D; Joan Gaspar, 2014

Min 36.22”

Max 57.09”

Max 21.65” Min 5.12”

Pressed wood diffuser of 0.16 inches in natural oak or wenge. Injected aluminum dissipater, metal stem and base in lacquered black matte. Movable arm made of carbon fiber, lacquered in black matte.

89° 101° 100°

Ginger P

Oak

Ginger XL 42

120 V - 60 Hz

Wenge

LED SMD 15.4W 700mA 2700K 2130lm (included)

120 V - 60 Hz

Min 40.16”

LED SMD 15.4W 700mA 2700K 2130lm (included) Ginger XXL 60 120 V - 60 Hz LED SMD 20.8W 700mA 2700K 3023lm (included)

Max 67.32”

Max 25.59” Min 5.12”

Ginger XL 42

88° 99° 100°

Ginger XXL 60

Ginger P

Ginger XL 42

Ginger XXL 60

Max 25.59”

79.53”

3.39”

ø16.54”

ø23.62”

83.46”

ø16.54”

73.62”

49.21” ø13.39”

4.65”

3.39”

Max 21.65”

67.71”

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.

ø19.69”

ø24.21”

Black electrical cord * Ginger P / XL 42: in-line motion sensor dimmer Ginger XXL 60: integrated motion sensor dimmer Range

Dimmer * Dry locations only

p.8

Floor

p.114

p.152

Ginger — Joan Gaspar, 2014

Floor

Ginger â&#x20AC;&#x201D; 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.

Floor

Tam Tam â&#x20AC;&#x201D; Fabien Dumas, 2015

Metal structure lacquered in black. Lacquered aluminum lampshades adjustable 360º in any direction. An opal methacrylate diffuser softens the light.

Tam Tam P

Structure Black (Ral 9011)

120 V - 60 Hz E12 LED TYPE G16.5 5W

Shades Black (Ral 9011)

Tam Tam P3

Off-white (Ral 1013)

120 V - 60 Hz 3x E12 LED TYPE G16.5 5W

Orange (Ral 2000) Brown grey (Ral 7013) Green (Ral 6025) Sand (Ral 7032) Blue (Ral 5024)

Tam Tam P

Tam Tam P3

5.1 2”

6”

45.67”

62.99”

ø8.6

ø9.45”

ø11.22”

Black electrical cord Dry locations only

Range p.12

Floor

p.188

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 - 55”, 65” and 70”. 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.

Floor · Pie

Cala — Joan Gaspar, 2012

Varnished oak structure. White polyester shade, made of a PVC-PET laminated film. Methacrylate diffuser.

Cala P140, P165 & P180

Structure

120 V - 60 Hz

Oak

3x E26 CFL TYPE T4 20W

Pigmented black oak

3x E26 TYPE A19 60W 3x E26 LED TYPE A 11W

Shade Pearl white

Cala P140

Cala P165

Cala P180 ø27.56”

13.78”

ø25.39”

70.67”

55.12”

64.96”

9.45”

12.6”

ø22.44”

16.34”

16.54”

17.32”

Black braided cloth electrical cord Range

Dry locations only

p.238

Floor

Cala — Joan Gaspar, 2012

Floor

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.

Floor

Funiculí — Lluís Porqueras, 1979 / 2012

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

Moss grey (Ral 7003)

Funiculí

Off-white (Ral 9001)

120 V - 60 Hz

Black (Ral 9005)

E26 TYPE A19 100W

Red (Ral 3024)

E26 CFL TYPE T 20W

Blue (Ral

E26 LED TYPE A 11W

5024)

Funiculí

53.15”

ø7.24”

ø9.76”

Black electrical cord Range

Dry locations only

p.126

Floor

p.158

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 aluminum, arms and built-in swivel joints CNC milled from an aluminum 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.

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

Polo P 13.78”

Black (Ral 9005)

Polo P

White (Ral 9001)

120 V - 60 Hz LED 7W 350mA 3000K 520lm

” 3.94

(included)

23.97”

” 17.32

” ø1.77

ø10.43”

Black electrical cord Range

Dry locations only

100

p.180

Floor

p.136

Polo — Joan Gaspar, 2013

101

102

Floor

Polo — Joan Gaspar, 2013

103

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.

104

Floor

Scantling â&#x20AC;&#x201D; Mathias Hahn, 2010

105

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

Structure White-Oak Black-Oak

Scantling P73 120 V - 60 Hz E26 CFL TYPE T 20W E26 LED TYPE A 11W

Shade White (Ral 9010) Black (Ral 9005)

Scantling P73

7.87”

28.82”

53.62”

ø4.53”

ø11.22”

Black braided cloth electrical cord Range

Dry locations only

106

p.140

Floor

p.156

Scantling — Mathias Hahn, 2010

107

108

Floor

Scantling â&#x20AC;&#x201D; Mathias Hahn, 2010

109

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. Maranga P170

White (Ral 9003)

120 V - 60 Hz 3x E26 TYPE A19 75W 3x E26 CFL TYPE T 20W 3x E26 LED TYPE A 11W

Maranga P170

67.32”

ø19.7”

ø13.78”

Black electrical cord Range

Dry locations only

110

p.50

Floor

p.206

p.144

Maranga — Christophe Mathieu, 2012

111

Table

114

Table

Ginger â&#x20AC;&#x201D; Joan Gaspar, 2014

115

Diffuser and pressed wood base of 0.16 inches in natural oak or wenge. Injected aluminum dissipater and lacquered black matte metal stem.

Ginger S

Oak

120 V - 60 Hz

Wenge

LED SMD 7.8W 700mA 2700K 1066lm (included) Ginger M 120 V - 60 Hz LED SMD 15.4W 700mA 2700K 2130lm (included)

Ginger S

Ginger M ø16.54”

18.31”

21.26”

2.36”

3.39”

ø12.6”

ø8.66”

ø10.43”

Range

p.8

p.152

Black electrical cord

Dimmer

116

Dry locations only

p.78

Table

Ginger — Joan Gaspar, 2014

117

FollowMe Portable and rechargeable, FollowMe is a table lamp that can be taken wherever you go. Because of its small, warm, and self-contained 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.

118

Table

FollowMe â&#x20AC;&#x201D; Inma BermĂşdez, 2014

119

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.

FollowMe

White-Oak

120 V - 60 Hz LED 3,2W Warm light 240lm (included)

11.34”

FollowMe

ø4.84”

* 3 positions dimmer Dimmer *

120

Dry locations only

Battery life: 5 hours in peak power 10 hours in half power 20 hours in a quarter power Battery charging time: 10h

Table

FollowMe — Inma Bermúdez, 2014

121

122

Table

FollowMe — Inma Bermúdez, 2014

123

124

Table

FollowMe — Inma Bermúdez, 2014

125

126

Table

FollowMe — Inma Bermúdez, 2014

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 coldcontact between the metal and the table, and to impart additional stability.

Base and stem in lacquered iron. Shade made of lacquered aluminum. Base wrapped with black rubber. Moss grey (Ral 7003)

Funiculí S

Off-white (Ral 9001)

120 V - 60 Hz

Black (Ral 9005)

E12 TYPE G16.5 25W

Red (Ral 3024)

E12 CFL 13W micro-twist

Blue (Ral 5024)

E12 LED TYPE G16.5 5W

2.76”

Funiculí S

19.8”

ø6.1”

ø7.76”

14.25”

Black electrical cord Range

Dry locations only

128

Table

p.94

Funiculí — Lluís Porqueras, 2013

p.158

129

130

Table

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 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.

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

Brown grey (Ral 7013)

La Discrète

Off-white (Ral 1013)

120 V - 60 Hz E26 TYPE A19 60W E26 CFL TYPE T2 18W E26 LED TYPE A 11W

La Discrète

Wall bracket

10.32”

1.58”

8.27”

15.08”

4.53”

Black braided cloth electrical cord Dry locations only

132

Table

La Discrète — Fabien Dumas, 2013

133

134

Table

La Discrète — Fabien Dumas, 2013

135

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 aluminum, arms and built-in swivel joints CNC milled from an aluminum 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.

136

Table

Polo â&#x20AC;&#x201D; Joan Gaspar, 2012

137

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

Black (Ral 9005)

Polo

White (Ral 9001)

120 V - 60 Hz LED 7W 350mA 3000K 520lm (included)

Polo

” 3.94

13.78”

”

17.32

”

ø1.7 7

ø7”

Clamp

Table bracket

Base

ø1.97”

4.13”

3.74”

3.35”

ø7”

Black electrical cord Range

Dry locations only

138

p.180

Table

p.100

Polo — Joan Gaspar, 2012

139

Scantling A combination of basic geometric shapes and the use of wood together with metal give this range of lamps a homely appearance, as well 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.

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

Structure White-Oak

120 V - 60 Hz

Black-Oak

E26 CFL TYPE T 20W E26 LED TYPE A 11W

Shade Black White

Scantling S

7.68”

15.75”

23.3”

ø3.7”

ø8.27”

Black braided cloth electrical cord Range

Dry locations only

140

p.104

Table

p.156

Scantling — Mathias Hahn, 2010

141

142

Table

Scantling â&#x20AC;&#x201D; Mathias Hahn, 2010

143

Maranga S

White (Ral 9003)

120 V - 60 Hz 2x E12 TYPE B10 40W 2x E12 CFL candle 9W 2x E12 LED candle 5W

Maranga S

19.7”

ø12.6”

ø9.06”

Black electrical cord Range

Dry locations only

144

p.110

Table

p.50

p.206

Maranga — Christophe Mathieu, 2012

145

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

Natural cotton ribbon

Mercer Mini

Mercer M

Pearl white

120 V - 60 Hz

Dimmer

E26 TYPE A19 100W

E12 TYPE G16.5 40W E12 LED TYPE G16.5 5W

Mercer

Dimmer

120 V - 60 Hz E26 TYPE A21 100W

Mercer Mini

Mercer M

Mercer ø14.96”

ø11.42”

16.14”

9.84” ø4.45”

20.86”

ø7.09”

ø7.32”

ø9.45”

Black braided cloth electrical cord Range

Dry locations only

146

p.58

Table

p.208

p.192

Mercer — Joan Gaspar & Javier M. Borrás, 2006

147

148

Table

Mercer — Joan Gaspar & Javier M. Borrás, 2006

149

Wall

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, standing versions with moveable arms, and an unobtrusive wall lamp. 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.

152

Wall

Ginger â&#x20AC;&#x201D; Joan Gaspar, 2015

153

Pressed wood diffuser of 0.16 inches in natural oak or wenge. Injected aluminum dissipater and metal stem in lacquered black matte.

Ginger A

Oak

120 V - 60 Hz

Wenge

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

Ginger A

5.39”

2.36”

21.85”

16.22”

6.3”

ø12.6”

Range

p.8

p.114

Connections available: plug-in or hardwired * Hardwired wall version: dimmable Plug-in wall version: inline motion sensor dimmer Black electrical cord Dimmer / Dimmable *

154

Dry locations only

p.78

Wall

Ginger — Joan Gaspar, 2015

155

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

Scantling A

Structure White-Oak

120 V - 60 Hz

Black-Oak

E26 CFL TYPE T 20W E26 LED TYPE A 11W

Shade White (Ral 9010) Black (Ral 9005)

Scantling A 10.5”

ø5.3”

7.7 ” ø3 .7

”

Black braided cloth electrical cord Range

Dry locations only

156

p.104

Wall

p.140

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.

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

Moss grey (Ral 7003)

Funiculí A

Off-white (Ral 9001)

120 V - 60 Hz

Black (Ral 9005)

E12 TYPE G16.5 25W

Red (Ral 3024)

E12 CFL 13W micro-twist

Blue (Ral 5024)

E12 LED TYPE G16.5 5W

Funiculí A

2.76”

11.61”

15.35”

19.37”

ø6.1”

Black electrical cord Range

Dry locations only

158

p.94

Wall

p.126

Funiculí — Lluís Porqueras, 2013

159

160

Wall

Funiculí — Lluís Porqueras, 2013

161

162

Wall

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 complex 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.

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

White (Ral 9003)

Discocó A

Matte grey (Ral 7037)

120 V - 60 Hz 2x E12 CFL 11W

Matte beige (Ral 1001)

2x E12 TYPE G16.5 60W

Black-Gold (Ral 9004-Gold)

2x E12 LED TYPE G16.5 5W

10.83”

Discocó A

14.96”

9.29”

Dry locations only

164

Range p.18

Wall

p.204

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

Wall

Ledtube — Daniel López, 2009

167

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

Aluminum

Ledtube

White

120 V - 60 Hz

Black

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

Bronze

Ledtube 4.3”

2.17x6”

6.69”

5.85”

1.77”

2.68”

1.65”

Range of positions

2.5”

Range

Dry locations only

168

p.172

Wall

This orientable lamp lamp is easy to use, as it turns on automatically when open and off when folded away. Ledtube — Daniel López, 2009

169

170

Wall

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 deal for any bedside.

172

Wall

Ledtube R — Daniel López, 2012

173

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

Aluminum

Ledtube R

White

120 V - 60 Hz

Black

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

Bronze

Ledtube R 1.34”

ø5.2”

Ledtube R Left

Ledtube R Right

Range

Dry locations only

174

p.166

Wall

This orientable lamp lamp is easy to use, as it turns on automatically when open and off when folded away. Ledtube R — Daniel López, 2012

175

176

Wall

Ledtube R — Daniel López, 2012

177

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.

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

Black

Ledcompass / RSC

Silver grey

120 V - 60 Hz

White

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

Ledcompass

Ledcompass RSC 4.7”

2.7”

5.9”

4.1”

3.8”

3.4”

3.9”

1.3”

5.3”

2.3”

4.3”

ADA

178

Dry locations only

Wall

Ledcompass — Joan Gaspar, 2012

179

Polo The fluidity of its movements and its integrated LED technology make the Polo a light source with a great precision and versatility. The Poloâ&#x20AC;&#x2122;s elegant diffuser is made from injected aluminum, with a rotary switch at its base. It is available in both black and white.

180

Wall

Polo â&#x20AC;&#x201D; Joan Gaspar, 2013

181

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

Black (Ral 9005)

Polo A

White (Ral 9001)

120 V - 60 Hz

Polo A 3.8

2”

Wall bracket 3.54”

1.97”

” 1.85

ø1.7

4.53” 2.76”

7”

” 3.94

Max. 1.57”

ø2

.7 6”

3.9

4”

0.71”

Polo A with clamp 0.39”

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

1.97”

” 1.85

ø1.7 7

”

Polo A hardwired 2”

3.9

4”

3.8

ø4.33”

1.97”

” 1.85

ø1.7

7”

Black electrical cord Range

Dry locations only

182

p.104

Wall

p.136

Polo — Joan Gaspar, 2013

183

184

Wall

Scotch Club — Xavier Mañosa & Mashallah, 2013

185

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

Scotch Club A 30 120 V - 60 Hz

White White-Gold

2x G9 Bipin T4 40W

Blue-White Blue-Gold Terracotta-White

Scotch Club A 40

Terracotta-Gold

120 V - 60 Hz 2x E26 TYPE A 60W

Black-White

2x E26 CFL T2 18W

Black-Gold

2x E26 LED TYPE A 11W 2x G24 q-2 T4 18W

Scotch Club A 40

ø5.79”

ø7.17”

Scotch Club A 30

ø11.81”

4.41”

5.79”

ø15.75”

* Only for Scotch Club A 30 ** Only for Scotch Club A 40 with G24 q-2 T4 18W bulbs

ADA

186

Dimmable * * Dry locations only

Wall

Range p.38

p.210

Scotch Club — Xavier Mañosa & Mashallah, 2013

187

Tam Tam This wall version of the Tam Tam features either one of two shades, 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. 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.

188

Wall

Tam Tam — Fabien Dumas, 2012

189

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

Tam Tam A

Base

120 V - 60 Hz

Off-white (Ral 1013)

E12 CFL TYPE T2 13W Shade

E12 TYPE G16.5 40W E12 LED TYPE G16.5 5W

Black (Ral 9011) Off-white (Ral 1013) Orange (Ral 2000)

Tam Tam A2

Brown grey (Ral 7013)

120 V - 60 Hz 2x E12 CFL TYPE T2 13W

Green (Ral 6025) Sand (Ral 7032)

2x E12 TYPE G16.5 40W

Blue (Ral 5024)

2x E12 LED TYPE G16.5 5W

Tam Tam A2

ø13.7”

ø8.6”

Tam Tam A

ø8.6”

9.45”

9.6”

ø8.6”

10.3”

9.06”

16.7”

9.45”

Dry locations only Range p.12

190

Wall

p.84

Tam Tam — Fabien Dumas, 2012

191

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

Structure

Mercer A

Chrome

120 V - 60 Hz E12 TYPE G16.5 60W

Shade

E12 CFL TYPE A14 7W

Natural cotton ribbon

E12 LED candle 5W

Pearl white

4.7”

6.06”

Mercer A

Dry locations only

3.9”

9.57”

ø7.87”

192

Wall

Range p.58

Mercer — Joan Gaspar & Javier M. Borrás, 2009

p.208

p.146

193

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 aluminum, it is available in black or white.

White lacquered metal plate. Shade made of lacquered aluminum with an opalescent methacrylate diffuser over the open end.

White (Ral 9003)

Scene

Black (Ral 9005)

120 V - 60 Hz G24 q3 TYPE T4 26W

3.9”

2”

Scene

7.2”

4.2”

3.4”

11.3”

ADA

194

Dry locations only

Wall

Scene — Joan Gaspar, 2012

195

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 four 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, or to lighting bathrooms. An integrated Ledtube LED reading light can be built into the bottom of the fixture, perfect for a headboard.

196

Wall

Continua â&#x20AC;&#x201D; Christophe Mathieu, 2010

197

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

Structure

120 V - 60 Hz

Transparent-Chrome Diffuser White linen

23.6 ’’

T5 HO Mini Bipin 24W

34.6 ’’

T5 HO Mini Bipin 39W

47.2 ’’

T5 HO Mini Bipin 54W

59 ’’

T5 HO Mini Bipin 80W

120-277 V - 50/60 Hz 34.6 ’’ LED 21.6W 2700K* 1572lm 47.2 ’’ LED 28.8W 2700K* 2096lm 59 ’’ LED 36W 2700K* 2620lm

Continua ø4.7”

4.8”

3.3”

3.6”

Continua + Ledtube

Joint kit

* 3000K available upon request ** Only LED versions **

198

Wall

ADA

Dimmable

Suitable for damp locations

Continua — Christophe Mathieu, 2010

199

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 silk-screened polycarbonate film complements the high quality of the T5 fluorescent light source, and the fixtures’ shape makes them suitable for vertical or horizontal installation, perfect for bathrooms or kitchens.

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

Manhattan T5 63.5 (25”)

Structure

120/277 V - 50/60 Hz

Chrome

T5 HO Mini Bipin 24W Diffuser

Manhattan T5 93.5 (36.81”)

White

120/277 V - 50/60 Hz T5 HO Mini Bipin 39W Manhattan T5 123.5 (48.62”) 120/277 V - 50/60 Hz T5 HO Mini Bipin 54W

Manhattan T5 63.5

3”

25”

ø4.5”

2.6”

Manhattan T5 93.5

3”

36.81”

ø4.5”

2.6”

Manhattan T5 123.5

3”

48.62”

ø4.5”

ADA

200

2.6”

Suitable for damp locations

Wall

Manhattan T5 — Joan Gaspar, 2005

201

Ceiling

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 disks, provide the lamp with a nuanced, appealing gradation of light and depth. Further reflections dance off the chrome-covered semi-sphere at the core, where the disks 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.

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

White (Ral 9003)

Discocó C53

Discocó C88

Matte grey (Ral 7037)

120V - 60Hz

Matte beige (Ral 1001)

E26 CFL Globe 23W

3x E26 CFL Globe 23W

Black-Gold (Ral 9004-Gold)

E26 TYPE A21 150W

3x E26 TYPE A19 100W

E26 LED TYPE A 11W

3x E26 LED TYPE A 11W

Discocó C68 120V - 60Hz 3x E26 CFL Globe 23W 3x E26 TYPE A19 75W 3x E26 LED TYPE A 11W

Discocó C53

Discocó C68

ø7.5”

Discocó C88 ø12.4”

ø20.87”

21.46”

17.24”

13.39”

ø10.63”

ø26.77” ø34.65”

Range

Dry locations only

204

p.18

Ceiling

p.164

Discocó — Christophe Mathieu, 2009

205

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

Maranga C

White (Ral 9003)

120V - 60Hz 2x E26 TYPE A19 60W 2x E26 CFL TYPE T 13W 2x E26 LED TYPE A 11W

Maranga C

6.3”

ø5.12”

ø19.7”

Range

Dry locations only

206

p.50

Ceiling

p.110

p.144

Maranga — Christophe Mathieu, 2012

207

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.

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

Natural cotton ribbon

Mercer C

Pearl white

120V - 60Hz 2x E26 TYPE A19 60W 2x E26 CFL TYPE T4 20W

Mercer C

2x E26 LED TYPE A 11W

6”

6.93”

ø5.51”

ø17.32”

Range

Dry locations only

208

p.58

Ceiling

p.146

p.192

Mercer — Joan Gaspar & Javier M. Borrás, 2010

209

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.

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

Scotch Club C

White White-Gold

G9 Bipin T4 40W

Blue-White Blue-Gold Terracotta-White Terracotta-Gold Black-White Black-Gold

5.08”

Scotch Club C

ø4.65”

ø5.79”

Range

Dry locations only

210

p.38

Ceiling

p.184

Scotch Club — Xavier Mañosa & Mashallah, 2013

211

Shade in rotary moulded polyethylene. Methacrylate opal diffuser.

Soho C 57

White Stone grey

T5-C 22W+40W

Black

LED SMD 28.1W 700mA 2700K 3800lm Soho C 112 8x T5 24W LED SMD 127.2W 300mA 2700K 16680lm

Soho C 57

Soho C 112 ø7.8”

14.3”

7.28”

ø4.7”

ø22.4”

ø44.3”

Range

Dry locations only

212

p.52

Ceiling

p.232

Soho — Joan Gaspar, 2010

213

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 aluminum 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.

214

Ceiling

Plaff-On! â&#x20AC;&#x201D; Joan Gaspar, 2010

215

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

Structure Silver grey

Plaff-on! 20

Plaff-on! 50

120 V - 60 Hz

2x G9 Bipin T4 60W

Black

4x E26 TYPE A19 60W 4x E26 CFL TYPE T 20W

LED SMD 7.8W 700mA 2700K Diffuser

4x E26 LED TYPE A 11W

1066lm (included)2

4x GU24 CFL 13W

White Plaff-on! 33

LED SMD 28.1W 2700K 700mA

120 V - 60 Hz

3800lm (included)1

2x E26 TYPE A19 60W 2x E26 CFL TYPE T 20W 2x E26 LED TYPE A 11W 3023m (included)2

Plaff-on! 20

Plaff-on! 33

Plaff-on! 50 5.43”

4.65”

3.9”

Hi-lume dimmer driver 120/277 V - 50/60 Hz 2 Triac phase control dimmer

LED SMD 20.8W 700mA 2700K

2.48”

2.9” ø7.87” 3.54”

ø13”

ø19.7”

* Only for Plaff-on! 20 ** Only for LED models

ADA

216

Dimmable

Dry locations only

Ceiling

Plaff-On! — Joan Gaspar, 2010

217

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. Made of transparent polycarbonate and a polyamide base, this directional spotlight can be grouped in bases of 2 units.

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

Atlas

Translucent

120V - 60Hz E26 PAR30 75W E26 LED PAR30S 13W 36º 2700K

Atlas

Base Atlas 2

4.9”

1”

ø4”

9.8”

6.69”

9.8”

ø4.33”

Translucent electrical cord Range

Dry locations only

218

p.74

Ceiling

Atlas — Joan Gaspar, 2000

219

Outdoor

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 fixed-stem 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.

222

Outdoor

Santorini â&#x20AC;&#x201D; Sputnik Studio, 2014

223

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

Santorini

White (Ral 9003) Grey (Ral 7039)

E26 CFL TYPE A19 14W

Mustard (Ral 1032)

E26 LED Type A19 8W

Santorini

Santorini A Fixed Stem

Santorini C ø4.72”

ø3.94”

ø8.35”

ø3.94”

10.16”

14.53”

15.2”

10.16”

14.76ft

ø4.72”

11.3”

Floor accessory

ø8.35”

Canopy IP65 1.38”

Canopy 1.38” ø4.41”

Wall bracket IP65

7.95”

1.18”

ø4.41”

ø4.72”

Wall bracket

ø4.41”

67.8”

Garland accessory

8.94”

ø13”

Black electrical cord

Suitable for wet locations

224

Outdoor

Santorini — Sputnik Studio, 2014

225

226

Outdoor

Santorini â&#x20AC;&#x201D; Sputnik Studio, 2014

227

228

Outdoor

Santorini â&#x20AC;&#x201D; Sputnik Studio, 2014

229

230

Outdoor

Santorini â&#x20AC;&#x201D; Sputnik Studio, 2014

231

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 44”, it has been conceived for large spaces, while the 22” 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.

232

Outdoor

Soho — Joan Gaspar, 2010

233

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

White

Soho 57 / A / C Fixed Stem

Soho 112

Stone grey

120V - 60Hz

Black

8x T5 24W

T5-C 22W+40W

Soho 57

120/277V – 50/60Hz

120V/277V - 50/60Hz

LED SMD 28.1W 700mA 2700K

LED SMD 127.2W 300mA 2700K

3800lm (included)

16680lm (included)

Soho A

Soho C Fixed Stem

1.4”

ø4.3” ø5.9”

ø22.44”

20.76”

12”

23.22”

12”

15.87”

ø5.9”

6.56ft

34.96”

ø22.4”

ø22.44”

Soho 112

23.9”

9.84ft

1.4”

ø4.3”

ø44.33”

Black electrical cord Range

Dimmable

234

p.52

Outdoor

p.212

Soho — Joan Gaspar, 2010

235

236

Outdoor

Soho — Joan Gaspar, 2010

237

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 which filters the light and gives it a texture rich in nuances. There is also a wood indoor version, available in three sizes.

238

Outdoor · Exterior

Cala — Joan Gaspar, 2012

239

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. Cala

Structure

120 V - 60 Hz

Grey

2x E26 CFL TYPE T4 18W

Dark iroko

2x E26 LED TYPE A 11W Shade Brown

Cala Susp. IP65

Cala 140 IP65

55.12”

9.45”

6.56ft

9.45”

1.4”

ø4.33”

16.54”

ø20.87”

Weighted base

1.9”

15.35”

13”

15.9”

Weighted base: 12.05 lb Black electrical cord Range

Suitable for wet locations

240

p.88

Outdoor

Cala — Joan Gaspar, 2012

241

242

Outdoor

Cala by Joan Gaspar — 2012

243

244

Outdoor

Cala — Joan Gaspar, 2012

245

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 pending version stands out for its lightness and is suitable for illuminating outdoor tables.

246

Outdoor · Exterior

TXL — Joan Gaspar, 2007

247

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

Structure

TXL 170 / Susp. 58 120 V - 60 Hz

Grey

3x E26 CFL TYPE T2 11W 3x E26 LED TYPE A 8W

Shade White

TXL 205 / Susp. 70 120 V - 60 Hz 2x E26 CFL TYPE T3 23W 2x E26 LED TYPE A 11W

TXL Susp. 58

TXL Susp. 70

ø 4.3”

TXL 170

TXL 205 ø27.56”

ø4.3”

ø22.84”

6.46ft

181”

17.91”

14.76”

6.46ft

181”

ø22.84”

66.93”

80.32”

ø27.56”

16.34”

19.88”

Black electrical cord

Suitable for wet locations

248

Outdoor

TXL — Joan Gaspar, 2007

249

250

Outdoor

TXL — Joan Gaspar, 2007

251

252

Outdoor

TXL — Joan Gaspar, 2007

253

Lab Sober, architectural, practical… The Lab is an outdoor wall lamp that incorporates LED technology. A variable frontlet—made of stone-compound, iroko wood, or either black, grey, or white aluminum—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.

254

Outdoor

Lab — Francesc Rifé, 2012

255

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

Lab 1

Structure White

120 V - 60 Hz

Black

LED 3W 700mA 95lm (included) Lab 2

Lid White

120 V - 60 Hz

Grey

2x LED 3W 700mA 95lm (included)

Black Dark iroko Light iroko Stone-compound

4.96”

Lab 2

4.96”

Lab 1

3.15”

4.96”

3.15”

Signage lid on request (Lab 2 only)

ADA

256

Suitable for wet locations

Outdoor

Lab — Francesc Rifé, 2012

257

258

Outdoor

Lab — Francesc Rifé, 2012

259

Symbols Dry locations only

Suitable for damp locations

Suitable for wet locations

A fixture for indoor use, where it will not be exposed to excessive moisture and water.

A fixture that may be used in sheltered outdoor areas that are protected from direct contact with rain, snow, or excessive moisture.

A fixture suitable for outdoor locations that receive direct contact with rain, snow or excessive moisture.

Dimmer Dimmer on the unit.

Dimmable Product which can be dimmed.

Certifications ADA Product with cULus mark indicates compliance with U.S. and Canadian safety standards, as set by Underwriters.

260

ADA Compliant Wall Lighting: Objects projecting from walls with their leading edges between 27 inches and 80 inches (2’ 4” to 6’ 8”) above the finished floor shall protrude no more than four inches into walks, halls, corridors, passageways or aisles.

Symbols & Certifications

Coordination Isabel Valle Concept, graphic design, art direction & creative direction in production Folch

Photography Alexis Taulé Coke Bartrina Klunderbie Leo García Marc Serra Mariluz Vidal Miguel Fernández Illustration Pol Montserrat Printing Ingoprint Printed in Barcelona December 2015

Credits

263

‘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 Ma単osa

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 Ma単osa

Interview

Xavier Ma単osa

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