Lighting Engines

Lighting Around Campus (11/05/19)

At the beginning of this project, we were tasked to observe the light around us. It’s interesting that light is such an integral part of our lives but we rarely notice it, not to say to take time and observe them in detail. I went to various places on campus to check out the light that were present.

By gathering a lot of examples of light, it is evident that they vary in form, color, brightness, size and many other features depending on their purpose and function. The specifically designed or selected lights allow us to complete certain tasks and make us feel different emotions.

I tried to organize the lights into categories to see how the purpose influence its features and vice versa. Overall, I believe that warm, diffused light creates a more welcoming and comforting atmosphere whereas a cold, direct light is used for situations that require people to clearly focus and see.

Bigger lights tend to be shared by more than one person whereas smaller lights are meant for individuals. Decorative lights that are generally more ornamental are for personal and informal scenes. Utility lights often used for business and other serious settings are overall simpler.

Since my task was to build a light for the context “eating with friends at home”, I payed more attention to lights that were in a dining setting. I searched online for dining room lighting to compare their differences and evaluate their effectiveness.

Although public dining areas satisfy the “eating” part of my context, it probably differs from the scene of eating privately at home. Therefore, I tried to find more about private dining settings in various furniture company websites and in different people’s homes.

Experimentation with Materials (11/07/19)

Apart from the type of light illuminating from the lightbulb itself, light is greatly defined by the type of material that surrounds the bulb. Therefore, I did little experiments on the Lazy Susan and observed the quality of the light by surrounding the bulb with a range of paper materials.

Some features I discovered from the small experiments:

1. Transparency: Tracing paper was the most transparent whereas Bristol paper was the least transparent, with printing paper at the middle.
2. Tone: Bristol paper was surprisingly warm whereas tracing paper was the coolest, printing paper was once again in the middle.
3. Texture: Tracing paper has an extremely smooth surface whereas printing paper was the roughest, Bristol paper had a subtle texture.
4. Flexibility: Tracing paper was the most bendable but was also flimsy, Bristol paper was sturdy but not as flexible, printing paper was a medium.
5. Layering: Two pieces of Bristol paper layered together was significantly darker compared to tracing paper that can barely be seen.
6. Tape: The adhesive is less visible when the background is darker and more visible where light is brighter.

Sketch Models (11/12/19)

I first experimented making different forms with a few types of paper to investigate the effects of the change in form and material. I did not take my context in mind, I just wanted to unleash my creativity and discover what shapes I’m able to make with paper that can be used as a lamp.

I recorded what the on and off forms looked like respectively because I realized that some of my forms looked really different in the two settings. Some were much less interesting when its off and only intrigued the viewer when light is shone through them.

It’s important that my chosen model should be interesting in both on and off situations so that the audience appreciates the light in all scenarios. Preferably, it should be attractive but also not obtrusive at all times for the viewer to have a good dining experience.

In addition, many models looked very different from varying angles. Depending on the angle the viewer was seeing the light, the viewer experienced a change in emotions or purposes because of the change in form, brightness, direction and so on.

I learned that a good light design should not vary drastically from certain angles and especially not reveal the naked bulb. If the light is different at various perspectives, it should be an intentional design choice that purposely gives the light a separate function.

The tone and brightness of the lights had very different effects for the forms. The newsprint paper gave the curl design a warm glow whereas the tracing paper used for a flower-jellyfish design a luminescent and floaty feeling that resembles a delicate flower or a graceful jellyfish.

After my small investigations with form, I moved onto creating specific prototypes that relate to my context. I based my forms on a somewhat circular design because I was sure that I wanted my form to be radial. Such a form would distribute light equally and be suitable for a round dinner table.

My first design was like an octagonal sandwich that had two small octagons on top and bottom and a large one in the middle. It was inspired by Chinese lanterns that are hanged to provide well-rounded lighting for living rooms. However, mine was much more flat because it was unreasonable to have such a long height for a modern hanging lamp considering that dining rooms are generally no more than three meters tall. A tall lamp would decrease the sense of space for the people below and generate negative feelings of confinement. In addition, I made it much wider so it would distribute light further horizontally and ensure that everyone on the table gets their share of light. Since the octagon has so many edges, the edges are much more subtle. From afar looks like a circular shape but up close the viewer would find complexity in its design.

The product was hard to make mainly because of I didn’t measure accurately for the octagonal sides. It turned out that each side was not exactly the same length and the angles had minor variations. Thus, the frame of the octagon was not exactly accurate and the big flat surfaces were hard to attach. I had to use a lot of tape to attach all the pieces together and the overall craftsmanship was not quite adequate. I used Bristol paper for the sides and tracing paper for the large surfaces. My choice was mainly based on the practicality that I needed the sturdiness of Bristol paper to support the basic octagonal structure and the transparency of tracing paper to provide enough lighting. The two papers with different transparencies and textures don’t clash with each other only because of their cool tones.

My biggest mistake for this design was that I forgot the existence of the bulb. Only after completing the design I realized that I did not create an opening for the bulb. Therefore, I had to create a very rough cut and a temporary bulb holder in the middle and stick the bulb inside. Apart from the miscalculation, the final product was simple, neat and functioned well. However, it lacked an interesting element as it was derived from a traditional form. Apart from improving on craftsmanship, I would try to experiment and alter it into something more original if I do decide to base my light off this form.

I created another design to open up my options and possibilities. This one was inspired by my personal experience of my mom replacing a vase of flowers in the middle of our dining table every week. The light on top shone right at the flowers and created a beautiful dining environment. I drew a simplified line drawing of rose petals and with inspiration from quillwork, I attached the curves to the base. I decided the height of the curls to be four inches so that it perfectly covers the naked bulb but is shallow at the same time for enough light to shine down. Although the shape is not symmetric and there are no equal sides of the shape, it generally resembles a circular shape and is able to distribute an equal amount of lighting.

At first I used Bristol paper for the paper curls because they could easily stand on their edges. Once bent to the right curl, the curls stayed and looked clean. However, I soon realized that it was too thick to be the suitable material for this model. The layers of petals blocked the light in the middle and only transparent materials could radiate the light. Thus, I turned to tracing paper, which was the thinnest paper I had. It was very effective at passing light and there was a beautifully dilution of light on the outer edge, however, the material was extremely flimsy and took a lot of tape to steady. It was very easy to curl though and did not take much effort. Some edges fell inwards and were not consistent, but it could be argued that it created a live and active feeling. I made slits to the areas that overlapped, one cut on the bottom and one at the top, so the the pieces slid together neatly. I found the end product to be an intriguing design that was complex but not overly elaborate. It diffused the light nicely, with an ombre that radiated outwards from a strong focus in the middle to the soft glow illuminated from the edges. It fits the context of my scene well and people appreciate the design.

During the group critique, my greatest takeaway was to use wire to create a frame on the edges and steady the base from drooping. Since the whole product was made from tracing paper and was quite large, the paper could not withstand itself and was not sturdy at all. It constantly seem like it was flailing apart. Also, it was high recommended for me to hide the signs of my adhesives or use them in a neater fashion. I used artist tape for this model because I was unsure of the areas that I attached together, thus my craftsmanship was not professional at all and my next iteration should be visually cleaner. People commented that it has an organic feeling and fits the context in which food is an important aspect. The size is decent for a dinner table, however, I should consider about the color of light and paper material. Right now it’s leaning towards a cool tone whereas a warm tone would be more inviting.

First Official Model (11/14/19)

I eventually decided to move on with the rose-like or cloud-like design instead. It has a more intriguing form and I appreciate the organic elements of it. However, like I mentioned before, there are many features that I could improve on and I set myself more detailed criteria to align with the context:

• Tone: warm light that seems to be inviting and accentuates image of food
• Brightness: medium level to see food clearly but not extremely focused
• Intensity: diffuses enough light for it to not make harsh shadows
• Position: hanging light above in the center of a round table for 3–4 people
• Form: organic like food and follows a radial form to distribute light equally
• Texture: can be slightly rough and not overly neat for a natural feeling

The first change was in my use of paper. The tracing paper I used for my previous model was too flimsy to stand up straight yet offered a good level of transparency. Although it had a warm tone during the on-stage due to the bulb, it was in a cool tone during the off-stage.

Therefore, I went to the art store to find a type of paper that was warm, strong and as translucent as possible. It wasn’t easy to find the right kind of paper that exactly fitted all my criteria and the stores person recommended all types of tracing paper, plastic paper, rice paper and so on.

I ultimately decided to use the Mulberry White paper that seems like thick rice paper. It had a warm tone that was accentuated under light and had a natural, comforting texture of paper fibers. It was quite sturdy though not as hard as Bristol and allowed the bare minimum of light to pass through.

Since I sacrificed a small amount of brightness for sturdiness, the light was more structured than before. However, I believe another feature that factored into my drooping light was its large size. I decided to scale the model down a bit to create a stronger structure.

The resulting size was only a little bit smaller than the original model but the base was much more flat with the help of wires that framed the outer edge. I bought and used a 18 gauge aluminum wire roll and attached them to the surface with glue, which provided supported for the light’s skeleton.

In this iteration I decided to try superglue to see whether it would be a more subtle adhesive. Although the process was easy and the result was effective, the only unsatisfactory feature is the fact that it left very distinct glue marks on the paper, which greatly detracts from the appearance.

A very unique feature of the Mulberry was its torn edges on one side of the sheet. It naturally resembled the tip of a petal and I decided to incorporate it into my light. Unfortunately, there was not enough paper so I could only make a transition from rough to smooth edges from the center to the outer circle.

Furthermore, I reduced the height of the sides from four inches to three inches because the general scale was smaller. If I kept the original height, the light might seem bulky and unnecessarily long. Despite losing one inch, the sides were still sufficient to cover up the naked bulb.

We had a small group critique on the following day and I received useful feedback on my current iteration. Peers commented that my form could be associated with flowers (warm association), a half-cut cabbage (positive in context of food) and a black hole (could be intriguing or intimidating). In addition, the size of my light made it seem like it was made for two people instead of a table of people for four people or more. It is quite unlikely for my context to include less than three people, therefore, I should enlarge my model to accommodate the right amount of people. Apparently the torn edges in the middle is a good indicator of its organic element and ties it to the context of eating. Since I ran out of edges only the middle section was rough, but they insisted that the torn edges should be continued throughout to keep the pattern consistent. However, there are some observations that I don’t fully agree with. I don’t really understand how my model feels more like a child’s lamp rather than for adults, I think the swirls are playful but sophisticated. They also mentioned that the prototype is not uninteresting but could be more interesting.

Improved Iteration (11/21/19)

I made changes in my next iteration based on the feedback I received from my peers. For example, I enlarged the base of the model so the light could accommodate around three to four people. The light would be more inclusive as it is distributed to a wider area.

Since super glue made really obvious marks on the model, I decided to try matte tape instead. I cut out small pieces of tape and stuck the wire to the paper as subtly as possible. Then I attached the paper rolls to the base with tape on either sides so that it would stand up.

Instead of having the torn edges in the middle, I decided to move it to the outer rim to see whether it would have a different effect. The torn texture would make more of an impact of creating a natural feeling because the outer circle is the most visible to the viewer.

In addition, I lengthened the sides from three inches back to four inches because I was reminded that I needed to cover the top of the bulb. It would feel unprofessional and ratchet if the viewer could still see part of the bulb hanging from the top, hence, I made the sides longer to cover it.

This iteration was close to what I imagined my model to be like. I was satisfied with its size and its form as it fulfills the requirements of my context. However, there were still minor problems such as the stripping edges and the slight tilt of the base, which is because each petal is not equal.

Final Model (11/26/19)

In my final iteration, I was inspired by my peer’s use of materials and I incorporated it to my design to strengthen my structure. In addition, I paid more attention to my craftsmanship and ensured that the details were done as perfectly as possible and the full model was polished.

Instead of using wire to make a skeleton for the outer rim, I decided to change to a foam board base. With a sturdy base instead of a somewhat flimsy skeleton, the model was much more stable and was not prone to tilting anymore. I covered both sides with Mulberry paper so the paper is consistent.

Furthermore, I moved on to double-sided tape instead of normal tape because it was nearly invisible. It was also very strong and acted as a very effective adhesive. I applied it to the sides of the foam board as well as the track of the sides and attached the paper to it. It created a neat closing.

Even at the final iteration, I did not cover the naked bulb despite learning that it should be hidden to protect the eyes of the viewer. However, I made that deliberate decision because in my context the viewer cannot directly see the bulb due to the position they are situated in around the table.

I believe that the model ultimately created an intimate yet welcoming atmosphere where the light was large enough for people to share the light amongst each other; where the warm tone gives a sense of warmth and comfort; where the flowing form hints at nature.