[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"catalog-marset-ihana-and-ambrosia-2021":3,"$f54gFciXR1FznWJVNft3TqcXl0B8GYbPbga8lnvghe78":92},{"id":4,"title":5,"slug":6,"image":7,"source":8,"brand_name":9,"brand":10,"brand_slug":11,"file_size":12,"pages":13,"pages_count":87,"matched_pages":88,"match_count":89,"two_pages":90,"show_text":91},11166,"Ihana & Ambrosia 2021","marset-ihana-and-ambrosia-2021","\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.1.png","http:\u002F\u002F127.0.0.1:8000\u002Fprivate\u002Ffiles\u002Ff6\u002F3868c2054a0ca842ca3dc70a8af4be-26c0f46889.pdf","Marset",865,"marset","3.5 MB",[14,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77,81,85],{"image":7,"text":15,"number":16},"",1,{"image":18,"text":19,"number":20},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.2.png","Ihana and Ambrosia, two new lighting systems capable of extending, adapting and \ncreating lighting compositions in any type of interior design project. \nIhana y Ambrosia, dos nuevos sistemas de iluminación capaces de ampliar, adaptar \ny crear composiciones de luz en cualquier tipo de proyecto de interiorismo.\nLa iluminación modular\nThe modular\nlighting\n",2,{"image":22,"text":23,"number":24},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.3.png","Ambrosia\nCiszak Dalmas\n",3,{"image":26,"text":27,"number":28},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.4.png","Ambrosia, Ciszak Dalmas\n",4,{"image":30,"text":31,"number":32},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.5.png","Inspired by the linestra light, Ambrosia offers  \na modular design that integrates into the architecture \nand enhances it. A tubular structure with delicate \nlines that attach to the ceiling, allowing the light  \nto descend gently. Available in different longitudinal \nsizes, it offers various extensions to define the \nheight from which you want to illuminate. \nInspirada en la luz de linestra, Ambrosia propone \nun diseño modular que se integra en la arquitectura \ny la resalta. Su diseño empieza en una estructura \ntubular de líneas suaves sujeta al techo permitiendo \nque la luz descienda para iluminar cálidamente. \nDisponible en distintas medidas longitudinales, \ntambién ofrece varias extensiones para definir  \nla altura desde donde se quiera iluminar. \nAmbrosia, Ciszak Dalmas\n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.6.png","Ciszak\nDalmas\nAlberto Gobbino Ciszak and Andrea Caruso Dalmas are “designers without labels”. \nThese two childhood friends from Turin (Italy) studied industrial design together and \nopened their office, Ciszak Dalmas, in Madrid in 2009.\nAlberto Gobbino Ciszak y Andrea Caruso Dalmas son “diseñadores sin etiquetas”. \nEstos dos amigos de la infancia, de Turín (Italia), estudiaron diseño industrial juntos \ny abrieron su despacho, Ciszak Dalmas, en Madrid, en 2009.\nAmbrosia, Ciszak Dalmas\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.7.png","Ambrosia, Ciszak Dalmas\nAlberto Gobbino Ciszak and Andrea Caruso \nDalmas began their career in Spain with La Clínica \nDesign, a furniture reuse project that made them \nfamous (and is still ongoing), orienting their path \nfrom the beginning towards simple and sustain-\nable design. \nToday, Ciszak Dalmas is looking to go \na step further and design buildings, in collab-\noration with architect Matteo Ferrari. In 2017, \nAlberto and Andrea designed the interior of \nthe Ambrosia multi-brand boutique, for which \nthey created an eponymous suspension lamp, \nwhich speaks from geometry and adaptability. \nAmbrosia is a segment of light capable of ex-\ntending and adopting different sizes, thus offer-\ning numerous possibilities. Marset has edited it \nand it is already part of its new collection.\nWhat is design for you? What fascinates \nyou about your work?\nDesign is a complex social discipline that \nshould improve the quality of life of all people \nand help the environment. Until this is achieved  \n–we are far away– there will be plenty of opportu-\nnities for all designers. We are fascinated by free \nresearch at the material level. We experiment with \nsmall samples, research textures and finishes and \nthen apply them to both spaces and products. \nIn fact, our motto is “experimenting every day”, \nbecause a large part of our philosophy is based \non experimentation. There is also a very analytical \npart in design, where you have to have method, \nmonitoring and study. We understand design as \nsomething multidisciplinary and holistic, where \nthe final result is only an image of a long process.\nEarlier you mentioned that you like to \nexperiment, research and learn about \nnew materials. Do you favor any specific \nmaterial or materials?\nIn principle, all natural materials fascinate us \nbecause they never have the same finishes and \nhave the ability to surprise, but we are also open to \nusing industrial materials. All materials are gene- \nrous because they always serve a specific pur-\npose and can be adapted to other applications. \nAll materials are honest, because they always \nserve a specific purpose and it’s very playful to \nchange their application.\nAlberto Gobbino Ciszak y Andrea Caruso Dalmas \niniciaron su carrera en España con La Clínica \nDesign, un proyecto de reutilización de mobilia-\nrio que los hizo famosos (y que sigue en marcha), \norientando su camino desde un principio hacia  \nel diseño simple y sostenible. \nHoy, Ciszak Dalmas busca dar un paso \nmás y proyectar edificios, en colaboración con \nel arquitecto Matteo Ferrari. En 2017, Alberto \ny Andrea diseñaron el interior de la boutique \nmultimarca Ambrosia, para la cual crearon una \nlámpara de suspensión homónima, que habla \ndesde la geometría y la adaptabilidad. Ambrosia  \nes un segmento de luz capaz de extenderse y \nde adoptar diferentes tamaños, ofreciendo así  \nnumerosas posibilidades. Marset la ha editado  \ny ya forma parte de su nueva colección.\n¿Qué es para vosotros el diseño? ¿Qué os \nfascina de vuestro trabajo?\nEl diseño es una disciplina social compleja \nque debería mejorar la calidad de vida de todas \nlas personas y ayudar al medio ambiente. Hasta \nque esto no se consiga –estamos lejos–, habrá \nmuchísimas oportunidades para todos los dise-\nñadores. Nos fascina la investigación y el trabajo \nlibre a nivel de materiales. En el estudio tenemos \nuna materioteca que se amplía todos los días. \nHacemos experimentos con pequeñas muestras, \ninvestigamos en texturas y acabados y luego los \naplicamos tanto a espacios como a productos. \nDe hecho, nuestro lema es “experimenting every \nday”, porque una gran parte de nuestra filoso-\nfía se basa en la experimentación. También hay \nuna parte muy analítica en el diseño, donde \nhay que tener método, seguimiento y estudio. \nEntendemos el diseño como algo multidisciplinar \ny holístico, donde el resultado final es solo una \nimagen de un largo proceso.\nAcerca de experimentar, investigar y cono-\ncer nuevos materiales. ¿Os inclináis por \nalguno o algunos en específico?\nEn principio, todos los materiales naturales \nnos fascinan porque nunca presentan los mismos \nacabados y tienen la capacidad de sorprender, \npero también estamos abiertos a utilizar materia-\nles industriales. Todos los materiales son genero-\nsos porque siempre sirven para algo específico  \ny se pueden adaptar a otras aplicaciones.\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nAmbrosia initial sketch\nSketch inicial de Ambrosia\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.8.png","Tell me about Ambrosia, why it was born?\nIt was born from a design project for the \nAmbrosia store (hence the name), located on \nClaudio Coello street in Madrid. It is a luxury \nmulti-brand boutique, and our studio completely \nrenovated it, defining the interior architecture,  \nfurniture and lighting.\nWhat inspired you?\nThe practicality of the linestra products, \nwhich in a single object solve all the technical as-\npects of an LED light, being of a high production \nsimplicity and low cost. We wanted to investigate \nits use, changing its perception from something \ntechnical to something poetic, although Ambrosia \nis currently produced with a “smarter” technique \nthan the original model: it no longer uses the \nlinestra system we were initially inspired by, but \ntakes advantage of the linear extrusion process \nto achieve the four different sizes of the collection.\nWhat was the process like?\nWe explored artisanal techniques that did \nnot require large investments for the production \nof a single piece. After several tests and proto-\ntypes, we came to use the linestra model, a pre-\nfabricated LED strip in several standard sizes, \neasy to install and very affordable. This system \nallowed us to create a composition “in segments” \nof a predefined length, solving all the technical  \naspects such as wiring, transformer and source  \nin one go, which were integrated into a single  \ncomponent. In order to conceal the plastic \ncoupling of the linestra and thus complete the  \ndesign of the luminaire, we created a square box \nwelded with brass plates, leaving only the lumi-\nnous tube in view. It was an exercise in simplicity, \ncombining practicality and aesthetics.\nHáblame sobre Ambrosia. ¿Por qué nace \nesta lámpara?\nNace de un proyecto de diseño para la tienda \nAmbrosia (de ahí el nombre), ubicada en la calle \nClaudio Coello de Madrid. Es una boutique multi-\nmarca de lujo, y nuestro estudio la reformó ente-\nramente, definiendo la arquitectura de interiores, \nel mobiliario y la iluminación.\n¿Qué os inspiró?\nLa practicidad de los productos linestra, \nque en un solo objeto resuelven todos los aspec-\ntos técnicos de una luz LED, siendo de una ele-\nvada simplicidad de producción y de bajo coste. \nQuisimos investigar su uso, cambiando su per-\ncepción de algo técnico a algo poético, aunque \nactualmente Ambrosia está producida con una \ntécnica más “inteligente” que el modelo original: \nya no usa el sistema linestra en el que nos inspira- \nmos inicialmente, sino que aprovecha el pro-\nceso de extrusión linear para alcanzar los cuatro  \ndistintos tamaños de la colección.\n¿Cómo fue el proceso?\nExploramos técnicas artesanales y tras \nvarias pruebas y prototipos, llegamos a utilizar \nel modelo linestra, una tira LED prefabricada en \nvarios tamaños estándares, fácil de instalar y \nmuy accesible. Este sistema nos permitía crear \nuna composición “a segmentos” de una longitud \npreestablecida, resolviendo de una sola vez to-\ndos los aspectos técnicos como el cableado, el \ntransformador y la fuente, que quedaban inte-\ngrados en un solo componente. Para ocultar el \nenganche plástico de la linestra y así terminar el \ndiseño de la luminaria, creamos un cajetín cua-\ndrado soldado con platinas de latón, que solo de-\njaba a la vista el tubo luminoso. Fue un ejercicio \nde simplicidad, uniendo practicidad y estética.\n“Ambrosia was different: \neverything was played \naround a simple, minimal \nline –geometrically \nspeaking, a segment– \nof light.”\n“Ambrosia fue diferente: \ntodo se jugó alrededor \nde una simple y mínima \nlínea –geométricamente \nhablando, un segmento– \nde luz”.\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nAmbrosia, Ciszak Dalmas\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.9.png","Did you succeed?\nThe challenge of this lamp is to be invisible: \nto be integrated into the space and disappear.  \nIt doesn’t have to draw attention to itself or eat \ninto the architecture, but integrate into it and  \nhighlight it: it should be at the service of it, rather \nthan stealing the limelight.\nHave you experienced something special \nwhile making this lamp?\nEvery design has its own process, some are \ncharacterized by an explosion of creativity, others \nby spurts of impulsiveness, others by attentive and \nmeticulous analysis and development. Ambrosia \nwas different: everything was played around a \nsimple, minimal line –geometrically speaking, \na segment– of light. Creating a three-dimensional \nproduct from a two-dimensional geometric figure \nsounds exciting. You could say, for fun with words, \nthat Ambrosia is a dimensional leap from line to \nvolume, from the second to the third dimension.\nWhat would you like customers to think \nwhen they see the lamp?\nWe would like them to appreciate that \nthe lamp is not a finite product, but an open \nsystem, capable of extending and going through  \ndifferent proportions: it can be adapted to a spe-\ncific point, such as above a table or a reception \ndesk, it can extend to follow the direction of a \ncorridor, or multiply to illuminate a larger room.  \nThe system adapts to any interior space, you just \nhave to play with the family and create the most \nsuitable composition.\nWhat is so special about Ambrosia?\nA design that is easy to adapt to different \nenvironments through an open, accessible \nand visually clean system. It brings light without \ndecoration. Just light.\n¿Lo lograsteis?\nEl reto de esta lámpara es que sea invi-\nsible: que se integre dentro del espacio y des-\naparezca. No tiene que llamar la atención ni \ncomerse la arquitectura, sino integrarse en ella y  \nresaltarla: debe estar al servicio de ella, más \nque robarle el protagonismo.\n¿Habéis experimentado algo especial,  \nhaciendo esta lámpara?\nCada diseño tiene su proceso, algunos se  \ncaracterizan por una explosión de creatividad, otros \npor un análisis y desarrollo atento y meticuloso.  \nAmbrosia fue diferente: todo se jugó alrededor \nde una simple y mínima línea –geométricamente  \nhablando, un segmento– de luz. Crear un producto  \ntridimensional a partir de una figura geométrica \nbidimensional suena apasionante. Se podría decir, \npor divertirnos con las palabras, que Ambrosia \nes un salto dimensional de línea a volumen, de la \nsegunda a la tercera dimensión.\n¿Qué os gustaría que los clientes pensaran \ncuando vieran la lámpara?\nQue valorasen que la lámpara no es un \nproducto finito, sino un sistema abierto, capaz \nde extenderse y recorrer diferentes proporcio-\nnes: se puede adaptar a un punto específico, \ncomo encima de una mesa, puede extenderse \npara seguir la dirección de un pasillo, o multipli-\ncarse para iluminar una sala más amplia. El sis-\ntema se adapta a cada espacio interior, tan solo \nhace falta jugar con la familia y crear la composi-\nción más idónea.\n¿Qué tiene Ambrosia de especial?\nUn diseño fácil de adaptar a diferentes am-\nbientes mediante un sistema abierto, accesible, \ny limpio visualmente. Aporta luz sin decoración. \nLuz, y basta.\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nM\nCD\nAmbrosia, Ciszak Dalmas\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.10.png","(1) The height can be increased by means of the 40 or \n60 cm poles (max. 3 units.) They can be combined. · La \naltura se puede incrementar mediante las extensiones \n(Pole) de 40 o 60 cm (max. 3 uds.) Se pueden \ncombinar.\n(2) Lightpoint. · Punto de luz.\nAmbrosia, Ciszak Dalmas\nAmbrosia 120\nAmbrosia 210\nAmbrosia 180\nAmbrosia 315\nPower supply (RSC) · Fuente alimentación (empotrable)\n Black · Negro\n Matt Gold · Oro mate\nLED SMD 19,2W 24V CRI90 \n2200K - 2700K - 3000K Included · Incluido\nLED SMD 19,2W 24V CRI90 \n2200K - 2700K - 3000K Included · Incluido\nLED SMD 28,8W 24V CRI90 \n2200K - 2700K - 3000K Included · Incluido\nLED SMD 28,8W 24V CRI90 \n2200K - 2700K - 3000K Included · Incluido\nAluminium structure. Methacrylate light tube.  \nEstructura de aluminio. Tubo de luz de metacrilato.\nPole · Extensión\n40cm\n60cm\nPower supply · Fuente alimentación 20W - 24V - Clase II - Triac \nPower supply · Fuente alimentación 50W - 24V - Clase II - Triac \nPower supply · Fuente alimentación 35W - 24V - Clase II - DALI \nPower supply · Fuente alimentación 60W - 24V - Clase II - DALI\nAmbrosia 210\n210cm\n120cm\n60cm\n120cm\n30cm\n26,6cm\n12,2cm\n12,2cm\n(1)\n(2)\nCanopy · Florón\n7,3cm\n9cm\n3cm\n4cm\n23cm\n31cm\n20W\n50W, 35W, 60W\nAmbrosia 315\n45cm\n210cm\n315cm\n180cm\n90cm\n26,6cm\n12,2cm\n12,2cm\n(1)\n(2)\nAmbrosia 120\nAmbrosia 180\n12,2cm\n120cm\n26,6cm\n(1)\n(2)\n85cm\n12,2cm\n120cm\n26,6cm\n(1)\n(2)\n180cm\ndimmable*\n*It depends on the purchased power supply, \nTriac or DALI. 24V remote power supply to be \nordered separately.\n*Depende de la fuente de alimentación adquirida, \nTriac o DALI. Alimentación eléctrica remota de \n24V a pedir por separado. \nIhana, Joanna Laajisto\nIhana x2\n Black · Negro (RAL 9005)\n White · Blanco\n3x LED SMD 11,5W 700mA 2700K CRI90 \nLight source Fuente de luz 3057lm Included · Incluido\nLED SMD 11,5W 700mA 2700K CRI90 \nLight source Fuente de luz 1019lm \nIncluded · Incluido\n2x LED SMD 11,5W 700mA 2700K CRI90 \nLight source Fuente de luz 2038lm Included · Incluido\nCurrent input from any canopy. · \nEntrada de corriente desde cualquier florón.\nPhase cut dimmer leading and trailing edge.  \nDim to warm from 1800k to 3000K. Triac or DALI · \nRegulación por corte al principio y al final de fase. \nDim to warm de 1800k a 3000K. Triac o DALI\nDim to warm: 3x LED COB 6W 1800K \u002F 3000K CRI90 \nLight source Fuente de luz 1467lm Included · Incluido\nDim to warm: LED COB 6W 1800K \u002F 3000K CRI90 \nLight source Fuente de luz 489lm  \nIncluded · Incluido\nDim to warm: 2x LED COB 6W 1800K \u002F 3000K CRI90 \nLight source Fuente de luz 978lm Included · Incluido\nCustomized configuration · Configuración personalizada\nLacquered steel structure which supports an opal \nblown glass shade. \nEstructura de acero lacado que soporta un cristal \nsoplado de opal.\nIhana x3\ndimmable*\nA\nB\nC\n... x14\nC\nA\nA\nA\nExamples · Ejemplos:  \nConfiguration · Configuración x4: \nConfiguration · Configuración x5: \nConfiguration · Configuración x6: \nConfiguration · Configuración x7: \nConfiguration · Configuración x8: \nConfiguration · Configuración x9: \nConfiguration · Configuración x10: \nConfiguration · Configuración x11: \nConfiguration · Configuración x12: \nConfiguration · Configuración x13: \nConfiguration · Configuración x14:\n \n4A + 1B + 2C \n5A + 1B + 3C \n6A + 1B + 4C \n7A + 1B + 5C \n8A + 1B + 6C \n9A + 1B + 7C \n10A + 1B + 8C \n11A + 1B + 9C \n12A + 1B + 10C \n13A + 1B + 11C \n14A + 1B + 12C\nStructure · Estructura\nDiffuser · Difusor\nIhana x2 100\n69cm\nØ13cm\nØ30cm\n99cm\n3,5cm\n100cm\nIhana x2 200\nØ13cm\n69cm\nØ30cm\n99cm\n200cm\n3,5cm\nIhana x3 100\nØ13cm\n3,5cm\nØ30cm\n168cm\n138cm\n100cm\nIhana x2 150\n69cm\nØ13cm\nØ30cm\n99cm\n3,5cm\n150cm\nIhana x3 150\nØ13cm\n3,5cm\nØ30cm\n168cm\n150cm\n138cm\nIhana x3 200\nØ13cm\nØ30cm\n168cm\n200cm\n3,5cm\n138cm\n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.11.png","The Finnish architect Joanna Laajisto argues that a well-designed project is \nthe best form of sustainability, and that the best results are created together \nwith those clients who share a passion for quality and beauty. \nLa arquitecta finlandesa Joanna Laajisto defiende que un proyecto bien diseñado es \nla mejor forma de sostenibilidad, y que los mejores resultados se crean conjuntamente \ncon aquellos clientes que comparten la pasión por la calidad y la belleza.\nJoanna\nLaajisto\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.12.png","Guided by the values of Scandinavian heritage \n–functionality, quality, aesthetics, local crafts-\nmanship, natural materials and ecology–, Joanna \nLaajisto has transferred these principles into one \nof her latest designs: Ihana, a modular lighting \nsystem that allows you to add up to 14 shades, \nand the color temperature of which can change \nfrom a warm white to an ultra warm white, thanks \nto the dim to warm technology.\nWhat does design mean to you?\nI’m always thinking about what could be \ndone better, what could work better, what could \nmake us feel better, how to bring more beauty… \nAnd it’s not only with design and architecture,  \nbut with everything around me, also with politi-\ncal and social issues: I’m very concerned about \nequality and the environment, and I’m always \nthinking about how to make a positive impact.  \nIt’s a constant thought, it's really hard to stop.\nHow would you describe yourself as a  \ndesigner? What is your approach?\nMy design process for products usually \nstarts from a need. We do research for a project \nand if we don’t find something that fits perfectly,  \nI usually have an idea in mind and design it myself.  \nI like simple, classic elements that stand the test \nof time; I like it when you can’t tell when a piece \nor a space was designed. I think that having  \nnotions of previous eras and presenting them in \na contemporary way in a design evokes feelings  \ntowards that time. It’s important that the things \nwe create evoke feelings, because that gener-\nates emotion and value towards the product, and \nso it doesn’t become an element that is easy to \nget rid of. I believe in the power of beauty. I think if \nyou design something beautiful with the right val-\nues behind it, it’s a winning combination. People \nare becoming more and more conscious of their \nconsumption and are looking for ethical and  \neco-friendly solutions.\nGuiada por los valores de la herencia escandinava \n–funcionalidad, calidad, estética, artesanía local, \nmateriales naturales y ecología–, Joanna Laajisto \nha trasladado estos principios a uno de sus úl-\ntimos diseños: Ihana, un sistema de iluminación \nmodular que permite añadir hasta 14 pantallas,  \ny cuya temperatura de color puede cambiar de \nun blanco cálido a un blanco ultra cálido, gracias \na la tecnología dim to warm.\n¿Qué significa el diseño para ti? ¿Qué es  \nlo que te fascina?\nSiempre estoy pensando qué podría hacerse \nmejor, qué podría funcionar mejor, qué podría \nhacernos sentir mejor, cómo aportar más belleza…  \nY no solo me sucede en temas de diseño y arqui-\ntectura, sino con todo lo que me rodea, también \ncon cuestiones políticas y sociales: estoy muy \npreocupada por la igualdad y el medio ambiente,  \ny siempre estoy reflexionando en cómo generar \nun impacto positivo. Es un pensamiento constante, \nrealmente difícil de parar.\n¿Cómo te describirías a ti misma como  \ndiseñadora? ¿Cuál es tu enfoque?\nMi proceso de diseño para productos suele \nempezar a partir de una necesidad. Investigamos \npara un proyecto y, si no encontramos algo que \nencaje perfectamente, suelo tener una idea en \nmente y lo diseño yo misma. Me gustan los ele-\nmentos simples y clásicos que sobreviven al \npaso del tiempo; me gusta cuando no eres capaz \nde distinguir en qué momento fue diseñada una \npieza o un espacio. Creo que tener nociones de \népocas previas y presentarlas de una forma con-\ntemporánea en un diseño evoca sentimientos \nhacia ese momento. Es importante que las cosas \nque creamos evoquen sentimientos, porque eso \ngenera emoción y valor hacia el producto, y así \nno se convierte en un elemento del que es fácil \ndesprenderse. Creo en el poder de la belleza. \nCreo que si diseñas algo bello con los valores \ncorrectos detrás, es una combinación gana-\ndora. La gente cada vez es más consciente de \nsu consumo y está buscando soluciones éticas \ny ecológicas.\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nIhana, Joanna Laajisto\nIhana, Joanna Laajisto\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.13.png","Is there anything or anyone that particularly \ninspires you?\nAll those who are not afraid to say and stand \nup for what they believe in. Greta Thunberg would \nbe one of them.\nHow do you use materials and colors in \nyour designs?\nI really like basic materials like wood, metal, \nglass, stone, leather… I think people relate well \nto them, they generate emotion with that design.  \nI usually like to use them in their natural color.  \nBut I also use many colors that we find in nature, \nand I like the so-called “anti-colors”, which can be \ndifficult to define and can be interpreted in a way \nthat one person sees green and another sees \ngray. Also light changes these kinds of colors a \nlot, and this way you don’t get bored of a color so \neasily or feel the need to change it after a while – \nthat’s also more sustainable. I always like to use  \na bit of black, as a contrast, to mark the limits of a \nspace or an object.\nWhat is the inspiration behind the Ihana?\nOriginally, I created this lamp for our new \nstudio in Helsinki. We are located in a late 19th \ncentury stone building with very high ceilings in \nthe heart of the city. I wanted something long and \nsculptural that would not be visually “heavy” in the \nspace where we spend most of the time. The idea \nof soft blown glass forms with a rigid but thin steel \nframe fit perfectly. The black color of the metal \nhelps to perceive the shape. Thus, this design  \nbecomes a silhouette softened by the shapes of \nthe illuminated round glass.\n¿Hay alguien que te inspire especialmente?\nTodas las personas a quienes no les da \nmiedo decir y defender aquello en lo que creen. \nGreta Thunberg sería una de ellas.\n¿Cómo utilizas los materiales y los colores \nen tus diseños?\nMe gustan mucho los materiales básicos \ncomo la madera, el metal, el vidrio, la piedra,  \nel cuero… Creo que las personas se relacionan \nbien con ellos, generan emoción con ese diseño. \nNormalmente me gusta usarlos en su color  \nnatural. Pero también uso muchos colores que \nencontramos en la naturaleza, y me gustan los \nllamados “anti colores”, que pueden ser difíciles \nde definir y pueden ser interpretados de forma \nque una persona lo ve verde y otra lo ve gris. \nTambién la luz cambia muchísimo este tipo de \ncolores, y de esta forma no te aburres de un color \ntan fácilmente ni sientes la necesidad de cam-\nbiarlo después de un tiempo – eso también es \nmás sostenible. Siempre me gusta usar un poco \nde negro, como contraste, para marcar los límites \nde un espacio o un objeto.\n¿Cuál es la inspiración detrás de la Ihana?\nOriginalmente, creé esta lámpara para \nnuestro nuevo estudio en Helsinki. Estamos ubi-\ncados en un edificio de finales del siglo XIX, de \npiedra, con techos muy altos, en el corazón de \nla ciudad. Quería algo largo y escultural que no \nfuera visualmente “pesado” en el espacio donde \nmás tiempo pasamos. La idea de formas suaves \nde vidrio soplado con un marco de acero rígido \npero fino encajaba perfectamente. El color negro  \ndel metal ayuda a percibir la forma. Así, este  \ndiseño se convierte en una silueta suavizada por \nlas formas del vidrio redondo iluminado.\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nIhana initial sketch\nSketch inicial de Ihana\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.14.png","Ihana, Joanna Laajisto\nHow did you get from the idea to the  \nfinal product?\nMy initial idea came very naturally and  \neffortlessly. Turning that idea into a product is \nmore complicated but I am lucky to have Marset’s \ntechnical team in the process. I believe that only \nthose pieces that survive the test of time and that \nare passed onto future generations should be \nmanufactured, and that’s why it was very impor-\ntant to use changeable LEDs instead of fixed \nLEDs. We also had to consider clients with lower \nceilings in order to make variations.\nCan you give us keywords to define Ihana?\nI can think of two: it is simultaneously soft \nand rigid. I like that kind of contradiction.\nWhat would you like customers to think \nwhen they see the lamp?\n“This lamp would make my space special.”\nWhat does Ihana bring to the design world?\nProbably nothing new to the design world, \nbut I hope it brings beauty to the people who \nhave it.\n¿Cómo llegaste de la idea al producto final?\nMi idea inicial surgió de manera muy  \nnatural y sin esfuerzo. Convertir esa idea en \nun producto es más complicado pero tengo la \nsuerte de tener al equipo técnico de Marset en el  \nproceso. Creo que solo deberían fabricarse \naquellas piezas que sobreviven al paso del tiempo \ny que pasan a generaciones futuras, y por eso \nfue muy importante usar LEDs intercambiables \nen lugar de LEDs fijos. También necesitábamos \nconsiderar a clientes con techos más bajos para \npoder hacer variaciones.\n¿Puedes darnos tres palabras clave que  \ndefinan la Ihana?\nSe me ocurren dos: es simultáneamente \nsuave y rígida. Me gusta ese tipo de contradicción.\n¿Qué te gustaría que pensaran los clientes \nal ver la lámpara?\n“Hará que mi espacio sea especial”.\n¿Qué trae la Ihana al mundo del diseño?\nProbablemente nada nuevo en el mundo  \ndel diseño, pero espero que aporte belleza a  \nlas personas que la tengan.\n“Se me ocurren dos \ncosas acerca de Ihana: \nes simultáneamente suave \ny rígida. Me gusta ese \ntipo de contradicción”.\n“I can think of two about \nIhana: it is simultaneously \nsoft and rigid. I like that \nkind of contradiction”.\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nM\nJ.L\nIhana, Joanna Laajisto\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.15.png","Ihana\nJoanna Laajisto\nDim to warm technology\nTecnología dim to warm\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.16.png","Ihana, Joanna Laajisto\nDim to warm technology\nTecnología dim to warm\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.17.png","A lighting system that consists of several opal blown \nglass diffusers that are integrated to the firmness of \nthe metal structure that determines its shape.\nIhana features dim to warm technology, which \nallows not only regulating the intensity of the light, but \nalso its color temperature.In addition, this collection \nallows the creation of light compositions: its structure \ncan be extended to include 14 diffusers, connected \nto a single point of light. The simple shapes of Ihana \ndraw a silhouette of light.\nSistema de iluminación compuesto por varios \ndifusores blancos que se integran en una estructura \nde metal negra que determina su forma.\nIhana incorpora la tecnología dim to warm: \nal regular la intensidad de la luz, la temperatura \nde color de la misma varía. Además esta colección \npermite crear composiciones de luz: su estructura \npuede prolongarse hasta incluir 14 difusores \nconectados a un solo punto de luz. Las formas \nserenas de Ihana dibujan una silueta de luz.\nIhana, Joanna Laajisto\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002F8c\u002F7cad34635f795d649bc81813455155-26c0f4dd6f.18.png","Coordination · Coordinación\nIsabel Valle\nConcept, graphic design  \nand art direction  \n· Concepto, diseño gráfico  \ny dirección de arte \nFolch \nPhotography · Fotografía \nAlexis Taulé\nAna Larruy\nDavid Zarzoso\nMarçal Vaquer\nMariluz Vidal\nMikko Ryhänen\nVíctor Navarro\nSpecial thanks · Agradecimientos\nAdolfo Abejón\nArquitectura G\nBD Design\nCristian Herrera\nFrancesc Rifé\nHelena Contreras\nInbani\nJoan Carreras\nMax Enrich\nOwl\nPasseu Passeu\nPunt Mobles\nPrinted in · Impreso en Barcelona\nAugust · Agosto 2021\nCopyright © 2021 Marset.\nAll rights reserved.  \n· Todos los derechos reservados.\nSymbols · Símbolos\nDimmable\nProduct which can be dimmed.\n· Producto que puede ser regulado en intensidad de luz.\nBasic insulation plus second insulation or both replaced \nby reinforced insulation. Earthing excluded.  \n· Aislamiento básico más aislamiento secundario o ambos \nsustituidos por un aislamiento reforzado. Toma de tierra excluida.\nCertifications · Certificados\nAll products are manufactured according to the set safety  \nand electromagnetism standards of Europe: EN 60598-1,  \nEN 60598-2-1 and marked CE.\n· Todos los productos están fabricados siguiendo las normas \nde seguridad y electromagnetismo de Europa: EN 60598-1, \nEN 60598-2-1 y marcado CE.\nEnergy Class · Clase Energética\nMarset keeps its products updated based on the availability \nof light sources and their energy classification. 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