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Designer Spotlight: Mathias Hahn

Written by Nicole Gratson

Mathias Hahn, Industrial Designer for Marset

After relocating to London in 2006, German-born industrial designer Mathias Hahn began his illustrious career working as a freelance designer for Tom Dixon, eventually becoming one of the founding members of the premier OKAYstudio. Having graduated from Essen University in Germany in 2004, then receiving an MA degree from the Design Products course at Royal College under Ron Arad, Hahn began to hone his skills and garner invaluable experience working as a junior designer in the Product Design department at Volkswagen in Wolfburg. Parlaying his partnership with OKAYstudio, Hahn procured an eclectic myriad of projects within the industrial space for renowned clients, such as Marset, Ligne Roset, Kvadrat, Kohler, Magazin, and many others. Upon becoming Young Professional 2008, organized by the German Design Council/YDMI, and receiving the coveted 2010 German Design Price as Newcomer/Finalist, he found a creatively stimulating outlet and home with the much-loved Marset brand.

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Hahn’s celebrated designs exemplify everyday practicality, as well as functionality, respectively. An unrelenting visionary in creating objects that prove both effective and useful in day-to-day life, while also teetering on the playful and the kinetic, Hahn’s thoughtfully artistic commodities render not only on the pragmatic, but unequivocally enamor humor, social perspective, and a bit of innocuous naivety. Hahn’s memorable creations prove imagination and charm are never sacrificed for resolution or realism.

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“From light to shadow with a single gesture,” encompasses the re-imagined industrial theme that is the Theia collection, Hahn’s award-winning collaboration with Marset. Winner at NYCxDesign, organized by Interior Design magazine and ICFF, Theia evokes a timeless, formal fusion of the elementary with the sleek and intriguing exposition of the aerodynamic.

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Industrial, functional pieces structured of two globular half-spheres, one positioned vertically and the other horizontally, intersect at a strategically-placed angle, producing emanation to be eminently projected and reflected simultaneously. The surrounding space and objects are flooded with diaphanous illumination, producing visually appealing beauty and invoking enjoyment, relaxation, and adoration. Hahn’s unique and unconventional approach to the inception stages of designing a piece is virtually devoid of light, ironically. Initially embarking on his vision by creating and playing with shadows, Hahn then synergizes that foresight with detailing how the final structure will illuminate the darkness.

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