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A conversation with Mathias Hahn
Gambosa
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.
