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A conversation with Mathias Hahn
Gambosa
Let's start from the beginning. How did you get interested in design?
MHI started out with painting from an early age, as my grandmother was a painter and so later I wanted to become an illustrator. My first jobs I had as a teenager illustrating posters of my local theater and cultural institutions. I never heard of Product Design until I did several internships in advertising agencies and graphic design. When I first came across the concept of a product designer, I immediately knew the combination of sketching and working in the third dimension was for me.
How is your creative process? Which one is your favourite moment or stage?
MHUsually I start becoming an observer. I love being driven by curiosity, trying to understand what I am dealing with, meet the people I want to talk to, ask questions, in order to understand. My personal process is defined by an alternation between experimental, creative exploration and analysis of my own concepts. Design is about taking decisions and getting there is simply hard work. I am usually occupied with several topics at the same time and really enjoy when I take some time to dive into a project en bloc. When I am in the flow in the search for the right way, intuition is what I love. At some point you just know you are getting somewhere, and there is usually one moment in most projects where I feel a certain concept or direction is right. That moment is defining, because it marks the point of my decision. I might be critical reviewing older work at a later point, but being certain and passionate about a solution at a time is the best we can aim for.
Where does your inspiration come from? Who are your references?
MHNo interview without this question… haha!
For me design is a cultural tool, a language, a form of expression. It is read and understood by people, depending on their cultural background and perspective. The context in which design is perceived is the key. In that sense I as an author have a fundamental curiosity for context and the things I observe in the world. Inspiration comes from observation and reflection. Often it’s about having the capacity to perceive little details, or searching for and understanding someone elses viewpoint.
We just launched Gambosa a few months ago.
We love the colours in it and the multiple possibilities they offer.
Why did you choose to create an chromatic matrix?
MHWhen I came up with the concept for Gambosa I realised, that through playing with different finishes of the components, I could create a mix and match approach for the lights. I love working with colour and composition. My aim was to find a set of shades that allows for diverse combinations. From colourful playfulness to more muted classic blends. But not only the components of Gambosa are intended for interchangeability, also the fittings are deliberatelly standard E14 in order to retrofit and customise lightsources.
What do Gambosa, Theia and Scatling, all of your Marset collections, have in common?
MHThey are all very different collections actually, but in my eyes they stem from a similar curious approach which questions how lights could be conceived differently. With Scantling for example, I introduced a timber construction into lighting when it was very uncommon. At the same time it is a playful take on the archetype resulting in a unique gesture. The Theia was much more the outcome of an exploration of light itself. Experimenting with reflection and shadow led to an object which is rather poetic in the way you use and perceive it. I would think they both became quite iconic in the Marset universe. That being said, I don’t know how I will look at Gambosa in the years to come, but my feeling is it also has a strong identity.
How do you feel your work connected to Marset’s vision of light?
MHMarset’s vision for me is embodied by the people I have worked with closely for the last 16 or more years. The connection of my work is related to a shared long-term passion for light and the mission to create poetry in our everyday lives. Understanding that the light is slightly different in Barcelona is part of this wonderfully complex topic we call lighting design.
What other Marset designs are you a fan of?
MHThere is quite a few. I immediately fell in love with the Bicoca when it launched for example. I also still regret not securing an early pre-production version of the green portable Dipping Light which is designed by my dear friend Jordi Canudas.
And to end, what's cooking now in your studio?
MHA few very exciting projects. We are just about to launch a series of door handles with FSB which I am really proud of.
