Marset News October 2011 Berlin PLEAT BOX TAM TAM SCANTLING

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Alan Rodgers
5 years ago
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1 PLEAT BOX TAM TAM SCANTLING SOHO

PLEAT BOX Xavier Mañosa & Mashallah The idea behind the Pleat Box is that of a

the silhouette of which is applied to a ceramic base.

grey the result of recycling different enamels.

extremely warm light. Available in 4 sizes: 47, 36, 24 & 13.

Mañosa, a master ceramicist from Barcelona, and the Mashallah design studio in

We first came into contact with Marset, as a company, a year ago in New York,

working on a collection of lamps with Mashallah.

I clearly remember that he arrived about half an hour early and, as luck would

prototype, he told me that it was sure to sell.

proposition of Marset handling our lamp.

2 PLEAT BOX Xavier Mañosa & Mashallah The idea behind the Pleat Box is that of a sophisticated combination between a digitally-designed crease in a piece of cloth, the silhouette of which is applied to a ceramic base. The outer part of the lamp is offered in white ceramic, underglazed red clay and grey the result of recycling different enamels. The brilliant white enamel interior creates a glitter effect, which enhances the light from the lamp. It can also be supplied in 18 carat gold on the inside, which generates an extremely warm light. Available in 4 sizes: 47, 36, 24 & 13. Pleat Box has come about through the first-ever collaboration between Xavier Mañosa, a master ceramicist from Barcelona, and the Mashallah design studio in Berlin with Marset. We first came into contact with Marset, as a company, a year ago in New York, where we were showing, together with Alex Trochut, our ceramic collection in the Noho neighbourhood. Javier Marset attended the opening, where he showed considerable interest in our stuff. We chatted for a while and, in an unselfish moment, I mentioned to him that I was working on a collection of lamps with Mashallah. Back in Barcelona, we agreed to meet at my workshop one Friday morning. I clearly remember that he arrived about half an hour early and, as luck would have it, we came across each other in the small corner bar where I go for coffee every day. Javier gets straight to the point and, five minutes later, with his hands on a prototype, he told me that it was sure to sell. Both we and Mashallah were very happy about The story behind the Pleat Box the proposition of Marset handling our lamp. With their help, we made a few design changes and decided on the new finishes the interior of the lamp would be white or gold to suggest warmth and, for the outside surface, we would use the base material, showing the unglazed potter s clay itself, in terracotta or white and in a coarse grey, the result of a recycled glaze made up from other used glazes. We have already started to manufacture the lamps, and it has its own special place in the workshop. As it is being constructed, each individual Pleat Box proves very capricious its simple organic shape requires us to work the curves and the edges with great precision. Each one needs special pampering.

Pleat Box 47 Pleat Box 47 26 44 Pleat Box 24 Pleat Box 13 Pleat Box 36 18 21 26 11,5 16 34 Pleat Box 36 36

70W HSGSA/C/UB, E27 MICROTWIST 18W G9 48W ECO G9 FBT 9W 16 34 Pleat Box 36 E14 42W HSGSP/C/UB E14

3 Pleat Box 47 Pleat Box Pleat Box 24 Pleat Box 13 Pleat Box , Pleat Box ,5 13 Pleat Box 13 E27 70W HSGSA/C/UB E K SOFTLIGHT 18W G9 48W ECO G9 FBT 9W Pleat Box 24 E27 70W HSGSA/C/UB, E27 MICROTWIST 18W G9 48W ECO G9 FBT 9W Pleat Box 36 E14 42W HSGSP/C/UB E14 MICROTWIST 7W G9 48W ECO G9 FBT 9W Pleat Box 47 E27 105W HSGSA/C/UB E27 DULUX 23W G9 48W ECO G9 FBT 9W 36 Pleat Box 36

TAM TAM Fabien Dumas It s a juicy bunch of grapes, Nick Mason s drums from Pink Floyd, the constellation of Perseus.

sources pointed in different directions, geometrically arranged to invoke a feeling of organized chaos.

An opalescent, methacrylate diffuser over the open end softens the light. Two models are available: with either 3 or 5 satellite shades.

Using more than one, the sets of shades with their different positions can be used to create vast, multi-coloured ceilings, each one different from any other.

The very first time we met was on the Marset stand at the Light & Building 2010 Exhibition in Frankfurt. I went there six times asking for someone in charge; six times I left without meeting anyone.

good restaurants or cafés in Frankfort rather than on the exhibition site itself. Anyway, the seventh time I got lucky.

4 TAM TAM Fabien Dumas 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 large central shade (50 ) in lacquered aluminium, to which are attached various satellite shades (35 ), which can be rotated through 360º by means of a swivel mechanism. An opalescent, methacrylate diffuser over the open end softens the light. Two models are available: with either 3 or 5 satellite shades. Each shade can be personalised in any of the following colours: black, white, orange, tobacco, green or gray. The Tam Tam is suitable for any space. Using more than one, the sets of shades with their different positions can be used to create vast, multi-coloured ceilings, each one different from any other. The most important thing about the Tam Tam is maybe the fact that it enabled me to become acquainted with Javier Marset and Joan Gaspar. The very first time we met was on the Marset stand at the Light & Building 2010 Exhibition in Frankfurt. I went there six times asking for someone in charge; six times I left without meeting anyone. Business lunches, business meetings, business talks -every time a good reason for them being away from the booth and, as time went by, I thought I might have more chance of meeting them in one of the good restaurants or cafés in Frankfort rather than on the exhibition site itself. Anyway, the seventh time I got lucky. The introductions were made and we were all sitting in the conference room, a kind of VIP area with lounge seats and a low table, surrounded by some not very practical curtains. Soft music plus a little bit of alcohol and it could have been a very fancy club! However, I presented my portfolio to The story behind the Tam Tam them - and they just laughed! For sure, the sight of my homemade photo album covered with 60 s style flowered fabric, full of taped Polaroids and covered with sketches and diverse remarks must have been quite unappealing to them. But then, something incredible happened. The more they browsed, the more interested they got. Even more than that, Javier even confessed how enjoyable it was to touch good old-fashioned plain paper, how pleasant it was to feel something thicker than an iphone and more charming than any Power Point document. In spite of the very low budget of my presentation, I had attracted their attention. I was in and that, for me, was the key event of our first meeting; regardless of what followed, that was the precise moment when we came to know one another, that instant of surprise and joy when you realise that you and your counterpart are on the same wavelength, talking the same language.

5 TAM TAM 3 9 x E27 FBT 15W TAM TAM 5 13 x E27 FBT 15W Tam Tam 5 Tam Tam Ø 50 34,9 34,9 Ø ,5 102,7 85,9 102,7

SCANTLING 05 06 Mathias Hahn 02 A combination of basic geometric shapes and the use of wood together with metal give

All of the movements of the fully rotating shade use arms and hinges, and its technical precision means that springs

Scantling is a term used to define the size to which a piece of wood or stone is measured and cut, derived from the

The interplay of the different elements used in its design gives this lamp an archetypal, almost graphic appearance.

It includes a stage of passiveness and action, of being lit and switched off, being a source of light and an object in

Very simple and functional but, at the same time, very complex and emotional.

timber in connection with a domestic light.

for the functionality and flexibility a classic task light demands.

the development and eventually arrived at the final product.

6 SCANTLING Mathias Hahn 02 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. The story behind the Scantling Creating a lamp always combines designing a device and a type of light by itself. It includes a stage of passiveness and action, of being lit and switched off, being a source of light and an object in its own right. I guess this is where my enthusiasm for this topic starts, as light is such an essential thing. Very simple and functional but, at the same time, very complex and emotional. The Scantling lights are a good example both for how this affects the process of developing a product and how complex a simple thing like a light can be. It all started off with the coat light project from 2006 in which I explored the (at the time not very common) use of timber in connection with a domestic light. I wanted to develop the topic further and started working on a mechanical system of timber sections that would allow for the functionality and flexibility a classic task light demands. After several mock-ups, different prototypes, and a lot of discussion about this or that component we worked through the development and eventually arrived at the final product. Seeing all the parts coming together in the finished lights made me aware once more how much attention needs to go into the detailing of every part in order to form a very plain and simple to understand product. In the everyday use it is about the intuitive simplicity that makes objects work well. To show the reverse nature of this, I worked on an installation that displays all of Scantling s parts in an exploded format. Each and every small decision on functional parts and formal execution, much of the process complexity becomes visible. If the devil is in the detail, he must be a lucky devil!

7 Scantling P40 Scantling A 26,8 Scantling P73 E27 FBT 20W Scantling P40 E27 FBT 20W ø13,5 19,5 Scantling S E27 FBT 20W ø9,5 Scantling A E27 FBT 20W Scantling P40 40 Scantling P73 73, ,5 ø9,5 Scantling A 121,2 ø24 Scantling S Scantling S ø11, ,2 ø21 ø9,5 136,2 ø28,5 Scantling S

SOHO Joan Gaspar Soho is presented as a statement, in recognition of the merits of the lamps traditionally used in markets, taverns and cafeterias.

Thanks to the use of rotary moulded polyethylene, large sizes can be obtained.

A diffuser produces an excellent, evenly distributed light quality. In the translucent white version, the whole structure emits ambient light.

For quite some time I had been thinking about those fantastic metal lights, which were used in market halls and workshops; some of them, the oldest of all,

So, I decided to create something with the same aesthetics, but incorporating a powerful light source, with a view to making it more suitable for the

8 SOHO Joan Gaspar Soho is presented as a statement, in recognition of the merits of the lamps traditionally used in markets, taverns and cafeterias. After studying different volumes, proportions and materials, new uses and lighting effects have emerged. Thanks to the use of rotary moulded polyethylene, large sizes can be obtained. With a diameter of 112, it has been conceived for large spaces, while the 57 model is ideal for lighting a dining table. A diffuser produces an excellent, evenly distributed light quality. In the translucent white version, the whole structure emits ambient light. An outdoor model is also available for illuminating porches, gardens and terraces or open-air dining areas. For quite some time I had been thinking about those fantastic metal lights, which were used in market halls and workshops; some of them, the oldest of all, even had white vitrified interiors. So, I decided to create something with the same aesthetics, but incorporating a powerful light source, with a view to making it more suitable for the architectural and contract market whilst maintaining the retro style and without losing sight of those lovable antique lamps. The story behind the Soho The use of rotary moulded polyethylene means it is possible to make bigger objects, whilst applying different finishes to their surfaces; in this case, we were looking for something very similar to that of reinforced concrete. So, at the end of the day, the Soho is a contemporary, architectural product which provides a clear, formal reminder of our industrial past.

9 Soho 57 T5-C 22W+40W T5-C 40W Soho 112 Soho C57 T5-C 22W+40W Soho 112 / Soho C112 8x T5 24W 5x (QR111 GU53 12V 35-50W) + (T5-C 22W+40W) 5x (CDM-R111 GX8,5 35W) + (T5-C 22W+40W) 60,7 Ø 112 Soho C 112 Ø 112 Soho 57 30,5 36,4 Ø 57 Soho C 57 18,5 Ø 57

reflections on light

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