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Marset Salone Mobile 2025

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Gregori Civera
Gregori Civera
Gregori Civera
Gregori Civera

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Innovation
Functionality
Creativity
Eco-Social Impact
Total
JURY VOTES
Trade-Fair Stand
7.56
7.94
7.94
7.61
7.76
Peter Meinders
Peter Meinders Lecturer at Saxion University of Applied Sciences
It has a distinct Art Deco feel to...
6.5
8
7.5
6
7
Sam Derrick
Sam Derrick Managing Director at Brinkworth
Striking display, two simple materi...
7.5
8
8.5
7.5
7.88
Hong-Bo Cheng
Hong-Bo Cheng Founder and Creative Designer at LubanEra·Design
8
8
8.5
8.5
8.25
Jessica Dimcevski
Jessica Dimcevski Founder and Creative Director at Blurr Bureau
Ageless use of restrained materials...
8
9.5
8.5
8
8.5
Fo Chen
Fo Chen General Manager at Guangzhou Baietan Mixc
7
6.5
8
7
7.13
Sarika Shetty
Sarika Shetty Partner at SJK Architects
Neat use of materials. Simple forms...
7.5
7.5
7.5
7.5
7.5
Billy Ip
Billy Ip Principal, Global Sector Leader - Retail at Woods Bagot
nice choice of material and form, d...
8.5
7.5
8
7.5
7.88
Laetitia Murguet
Laetitia Murguet Founder at Oani Studio
8
9
8
8
8.25
Kevin Mclachlan
Kevin Mclachlan CEO at NOMADK
7
7.5
7
8.5
7.5
Designer
Client
Marset
Floor area
200 ㎡
Completion
2025
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Furniture

Moving away from object-centric displays, the space we designed for Marset at the 2025 edition of Euroluce at Salone del Mobile proposes an architecture defined by experience—open, porous, and radically simple. It introduces a modular system shaped by light and movement, conceived not as a temporary installation but as a structure built to adapt, evolve, and endure over time.

For the 2025 edition of Euroluce at Salone del Mobile, we designed a space for Marset that moved away from the logic of a conventional stand. Instead of creating an object to look at, we defined a structure to move through—open, porous, and radically simple. The installation, made up of eight volumes, distributed space without enclosing it. Each one was shaped by the light it held, creating a spatial rhythm that visitors could navigate freely.

The architecture invited interaction: soft transitions, direct views, and moments of pause. Rather than imposing a path, it revealed a way of being inside the light.

Each volume takes the form of a totem — a spatial container for a single lighting design. Rather than acting as passive displays, they define distinct environments that enhance perception, allowing visitors to experience each piece of light through space, scale, and atmosphere. The system is conceived as modular and adaptive. Inspired by the idea of a living organism, it can grow or shrink depending on context — expanding, reducing, or recombining itself without losing coherence. This logic gives the installation its rhythm and openness, inviting multiple readings and uses.

This is an installation with a longer life in mind. Nothing is temporary. Every element is designed to be part of a larger system — one that’s flexible, responsible, and made to evolve over time. It’s architecture that adapts, instead of being discarded. Material choices reflect this philosophy. The totems are constructed from a blend of raw aluminum and Okoumé wood, connecting the industrial with the natural, and bridging fabrication with craftsmanship. Structural profiles (40x40 mm) in untreated aluminium are joined to add depth and texture to the totem's reddish brown wood finishing, while the exterior panels forming the enveloping skin are black-stained Okoumé. The entire assembly follows a modular logic that maximizes reuse and minimizes waste — designed to be disassembled, reconfigured, and reinstalled in new contexts.

In the end, the project for Marset is about creating a meaningful encounter between design, light, and space. One that starts in Milan, but doesn’t end there.